Results

https://awardsdatabase.oscars.org/search/getresults?query=%7B%22Sort%22%3A%223-Award%20Category-Chron%22%2C%22AwardShowNumberFrom%22%3A1%2C%22AwardShowNumberTo%22%3A95%2C%22Search%22%3A30%7D
https://awardsdatabase.oscars.org/search/getresults?query=%7B%22Sort%22%3A%223-Award%20Category-Chron%22%2C%22AwardShowNumberFrom%22%3A1%2C%22AwardShowNumberTo%22%3A95%2C%22Search%22%3A30%7D
Results displayed by award category; sort is chronological
indicates a win; links to acceptance speech

--
{"Nickie Elkins"};
and
{"The Patent Leather Kid"}
--
{"General Dolgorucki [Grand Duke Sergius Alexander]"};
and
{"August Schilling"}
--
{"Mrs. Pleznik"}
--
{"Diane"};
{"Angela"};
and
{"The Wife"}
--
{"Sadie Thompson"}
[NOTE: For this awards year, awards were presented in the name of the individual and could honor work on one or more films. Charles Rosher and Karl Struss were both honored for cinematography on this film. It is considered a single nomination for the film.]
[NOTE: For this awards year, awards were presented in the name of the individual and could honor work on one or more films. Charles Rosher and Karl Struss were both honored for cinematography on this film. It is considered a single nomination for the film.]
[NOTE: This nomination was not associated with any specific film title.]
[NOTE: Though no specific titles were indicated during the presentation on May 16, 1929, or in the official results from the Central Board of Judges for this honorable mention, Academy records indicate that Mr. Slaughter was most often mentioned in connection with The Jazz Singer.]
[NOTE: This award was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
[NOTE: "The Academy Board of Judges on merit awards for individual achievements in motion picture arts during the year ending August 1, 1928, unanimously decided that your name should be removed from the competitive classes, and that a special first award be conferred upon you for writing, acting, directing and producing The Circus. The collective accomplishments thus displayed place you in a class by yourself." (Letter from the Academy to Mr. Chaplin, dated February 19, 1929.)]
--
{"Thunderbolt Jim Lang"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"The Cisco Kid"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
--
{"No. 1065, Chick Williams"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"James Dyke"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"Count Pahlen"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"Jacqueline Floriot"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"Carrie"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"Leslie Crosbie"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"Emma Hart, Lady Hamilton"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"Hank Mahoney"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"Norma Besant"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: The award citation reads 'for 'The Bridge of San Luis Rey' and other pictures.' THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
--
{"Benjamin Disraeli"}
[NOTE: As allowed by the award rules for this year, a single nomination could honor work in one or more films. Though the final awards ballot listed both Disraeli and The Green Goddess in his nomination, the award was announced for only the Disraeli performance. It has never been established as to why this was, but it possibly could have been because the original report from the Acting Branch Board of Judges only listed the Disraeli performance in the results of the nominations voting, or it could have been because on some of the final ballots, the voters had indicated the Disraeli performance over the other.]
--
{"Oxonian, the Rajah of Rukh"}
[NOTE: As allowed by the award rules for this year, a single nomination could honor work in one or more films. Though the final awards ballot listed both Disraeli and The Green Goddess in his nomination, the award was announced for only the Disraeli performance. It has never been established as to why this was, but it possibly could have been because the original report from the Acting Branch Board of Judges only listed the Disraeli performance in the results of the nominations voting, or it could have been because on some of the final ballots, the voters had indicated the Disraeli performance over the other.]
--
{"'Machine Gun' Butch Schmidt"}
--
{"Pierre Mirande"};
and
{"Count Alfred Renard"}
--
{"Hugh 'Bulldog' Drummond"};
and
{"Michel"}
--
{"Hallie Hobart"}
--
{"Sarah Storm"}
--
{"Anna Christie"};
and
{"Madame Rita Cavallini"}
[NOTE: As allowed by the award rules for this year, a single nomination could honor work in one or more films. Though the final awards ballot listed both The Divorcee and Their Own Desire in her nomination, the award was announced for only the The Divorcee performance. It has never been established as to why this was, but it possibly could have been because the original report from the Acting Branch Board of Judges only listed The Divorcee performance in the results of the nominations voting, or it could have been because on some of the final ballots, the voters had indicated the The Divorcee performance over the other.]
--
{"Lucia 'Lally' Marlett"}
[NOTE: As allowed by the award rules for this year, a single nomination could honor work in one or more films. Though the final awards ballot listed both The Divorcee and Their Own Desire in her nomination, the award was announced for only the The Divorcee performance. It has never been established as to why this was, but it possibly could have been because the original report from the Acting Branch Board of Judges only listed The Divorcee performance in the results of the nominations voting, or it could have been because on some of the final ballots, the voters had indicated the The Divorcee performance over the other.]
--
{"Marion Donnell"}
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
--
{"Stephen Ashe"}
--
{"Skippy Skinner"}
--
{"Yancey Cravat"}
--
{"Walter Burns"}
--
{"Amy Jolly"}
--
{"Sabra Cravat"}
--
{"Linda Seton"}
--
{"Jan Ashe"}
[NOTE: This nomination was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
[NOTE: This award was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
--
{"Champ"}
[NOTE: A tie. Mr. Beery had one vote less than Fredric March (Dr. Jekyll and Mr. Hyde), and rules at the time stated that if any achievement came within three votes of the First Award, it would be considered a tie.]
--
{"The Actor"}
--
{"Dr. Henry Jekyll/Mr. Hyde"}
[NOTE: A tie. Wallace Beery (The Champ) had one vote less than Mr. March, and rules at the time stated that if any achievement came within three votes of the First Award, it would be considered a tie.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Originally announced as one of the nominees in this category, but before the final voting was done, this film was disqualified and was replaced by another RKO Radio short, Scratch-As-Catch-Can. No documentation has been found as to why this film was disqualified.]
[NOTE: This nomination was not associated with any specific film title.]
[NOTE: This award was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
--
{"Peter Standish"}
[came in 3rd]
--
{"James Allen"}
[came in 2nd]
--
{"Eva Lovelace"}
--
{"Apple Annie"}
[came in 2nd]
--
{"Jane Marryot"}
[came in 3rd]
--
{"Peter Warne"}
--
{"Allesandro, Duke of Florence"}
[came in 2nd]
--
{"Nick Charles"}
[came in 3rd]
--
{"Mildred"}
[came in 3rd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
--
{"Elizabeth Barrett"}
[came in 2nd]
--
{"Fletcher Christian"}
--
{"Captain Bligh"}
[came in 3rd]
--
{"Gypo Nolan"}
--
{"Joe Radek"}
[came in 2nd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
--
{"Gemma Jones"}
[came in 3rd]
--
{"Jane Everest"}
--
{"Joyce Heath"}
--
{"Alice Adams"}
[came in 2nd]
--
{"Becky Sharp"}
--
{"Kitty Vane"}
--
[came in 3rd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
--
[came in 3rd]
--
[came in 2nd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
--
"Lullaby of Broadway"
and
"The Words Are In My Heart"
numbers from
[came in 3rd]
--
"Latin from Manhattan"
number from
and
"Playboy from Paree"
number from
--
"I've Got a Feeling You're Fooling"
number from
and
"Straw Hat"
number from
--
"Lovely Lady"
and
"Too Good To Be True"
numbers from
--
"Piccolino"
and
"Top Hat, White Tie, and Tails"
numbers from
[came in 2nd]
--
"It's the Animal in Me"
number from
and
"Viennese Waltz"
number from
--
"Hall of Kings"
number from
--
[came in 2nd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
--
[came in 2nd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
--
[came in 3rd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
[NOTE: Mr. Nichols initially refused the award, but Academy records indicate that he was in possession of a statuette by 1949.]
--
{"Longfellow Deeds"}
--
{"Sam Dodsworth"}
--
{"Louis Pasteur"}
--
{"Godfrey Parks"}
--
{"Father Tim Mullen"}
--
{"Rachel Jackson"}
--
{"Angelica Bullock"}
--
{"Mary Tilford"}
--
{"Baroness von Obersdorf"}
--
{"Faith Paleologue"}
--
"Love and War"
number from
--
"1000 Love Songs"
number from
--
"A Pretty Girl Is Like a Melody"
number from
--
"Swingin' the Jinx"
number from
--
"Skating Ensemble"
number from
--
"The Finale"
number from
--
"Bojangles of Harlem"
number from
--
{"Napoleon Bonaparte"}
--
{"Norman Maine (Alfred Hinkel)"}
--
{"Emile Zola"}
--
{"Daniel Leeson"}
--
{"Doctor Kersaint"}
--
{"Captain Alfred Dreyfus"}
--
{"Chang"}
--
{"Cosmo Topper"}
--
{"Lucy Warriner"}
--
{"Marguerite Gautier (Camille)"}
--
{"Esther Blodgett/Vicki Lester"}
--
{"Stella Dallas"}
--
{"Molly O'Leary"}
--
{"Kaye Hamilton"}
--
{"Laurel Dallas"}
--
{"Francie"}
--
{"Mrs. Bramson"}
--
"The Finale"
number from
--
"Too Marvelous for Words"
number from
--
"All God's Children Got Rhythm"
number from
--
"Swing Is Here to Stay"
number from
--
"Prince Igor Suite"
number from
--
"Fun House"
number from
--
"Luau"
number from
--
{"Pepe Le Moko"}
--
{"Rocky Sullivan"}
--
{"Andrew Mason"}
--
{"Professor Henry Higgins"}
--
{"Father Flanagan"}
--
{"Peter Goodwin"}
--
{"Mickey Borden"}
--
{"Regis"}
--
{"King Louis XVI"}
--
{"Louis XI"}
--
{"Hannah"}
--
{"Julie Morrison"}
--
{"Eliza Doolittle"}
--
{"Marie Antoinette"}
--
{"Pat Hollmann"}
--
{"Aunt Belle Massey"}
--
{"Mary Wilkins"}
--
{"Mrs. Emily Kilbourne"}
--
{"Carla Donner"}
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
--
{"Mr. Chips"}
--
{"Rhett Butler"}
--
{"Mickey Moran"}
--
{"Emperor Maximilian von Habsburg"}
--
{"President of the Senate"}
--
{"Sergeant Markoff"}
--
{"Dr. Josiah Boone"}
--
{"Senator Joseph Paine"}
--
{"Judith Traherne"}
--
{"Terry McKay"}
--
{"Lena Yakushova (Ninotchka)"}
--
{"Katherine Chipping"}
--
{"Scarlett O'Hara"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Gone with the Wind and The Private Lives of Elizabeth and Essex) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Gone with the Wind and The Private Lives of Elizabeth and Essex) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Gone with the Wind and The Private Lives of Elizabeth and Essex) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Gone with the Wind and The Private Lives of Elizabeth and Essex) would be selected.]
--
{"Hynkel, Dictator of Tomania"}
--
{"Abraham Lincoln"}
--
{"Maxim de Winter"}
--
{"Judge Roy Bean"}
--
{"Joe, the Foreman"}
--
{"Napaloni, Dictator of Bacteria"}
--
{"Howard Joyce"}
--
{"Leslie Crosbie"}
--
{"Mrs. de Winter"}
--
{"Kitty Foyle"}
--
{"Emily Webb"}
--
{"Alvin C. York"}
--
{"Roger Adams"}
--
{"Charles Foster Kane"}
--
{"Regina Hubbard Giddens"}
--
{"Lina McLaidlaw"}
--
{"Edna Gladney"}
--
{"Sugarpuss O'Shea"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Originally announced as a nominee on February 9, 1942, but sometime between the 10th and the 19th of February, this title was dropped and replaced by another Warner Bros. production, The Sea Wolf, with the same people credited for the nomination. There is no explanation in the files as to why this replacement was made.]
[NOTE: Not originally one of the nominees announced on February 9, 1942. Dive Bomber, another Warner Bros. production, was on the list, but sometime between the 10th and 19th of February, the Dive Bomber nomination was replaced by The Sea Wolf, with the same people credited for the achievement. There is no explanation in the files as to why the replacement was made.]
--
{"George M. Cohan"}
--
{"Charles Ranier"}
--
{"Clem Miniver"}
--
{"Smacksie Randall"}
--
{"Jeff Hartnett"}
--
{"Jerry Cohan"}
--
{"The Pirate"}
--
{"Mr. Ballard"}
--
{"Charlotte Vale"}
--
{"Kay Miniver"}
--
{"Tess Harding"}
--
{"Ruth Sherwood"}
--
{"Eleanor Gehrig"}
[NOTE: "A special award to Battle of Midway for the historical value of its achievement in offering a camera record of one of the decisive battles of the world - a record unique both for the courage of those who made it under fire, and for its magnificent portrayal of the gallantry of our armed forces in battle."]
[NOTE: "A special award to Kokoda Front Line! for its effectiveness in portraying, simply yet forcefully, the scene of war in New Guinea and for its moving presentation of the bravery and fortitude of our Australian comrades in arms."]
[NOTE: "A special award to Moscow Strikes Back for its vivid presentation of the heroism of the Russian Army and of the Russian people in the defense of Moscow, and for its achievement in so doing under conditions of extreme difficulty and danger."]
[NOTE: "A special award to Prelude to War for its trenchant conception and authentic and stirring dramatization of the events which forced our nation into the war and of the ideals for which we fight."]
"It Seems I Heard That Song Before"
from
--
"I've Got A Gal In Kalamazoo"
from
--
[NOTE: This nomination is a mystery. Both the nominations list and the program from the Awards dinner list the song as being from Hellzapoppin', a 1942 release for Awards purposes. The song does not appear in that film, but did appear in Keep 'Em Flying, a 1941 release from the same production company and studio, and was therefore ineligible for a 1942 nomination.]
"There's A Breeze On Lake Louise"
from
--
--
{"Rick Blane"}
--
{"Robert Jordan"}
--
{"Kurt Muller"}
--
{"Pierre Curie"}
--
{"Homer Macauley"}
--
{"Connie Milligan"}
--
{"Teresa 'Tessa' Sanger"}
--
{"Madame Marie Curie"}
--
{"Bernadette Soubirous"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 8 films announced as nominations from which the Documentary Award Committee subsequently selected 5 titles for inclusion on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 8 films announced as nominations from which the Documentary Award Committee subsequently selected 5 titles for inclusion on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 8 films announced as nominations from which the Documentary Award Committee subsequently selected 5 titles for inclusion on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
"Happiness Is A Thing Called Joe"
from
--
"Say A Pray'r For The Boys Over There"
from
--
[NOTE: This song was nominated under the title "Black Magic," as it was submitted by Paramount's Music Department. Academy records have been changed to show the more common form of the title.]
"They're Either Too Young Or Too Old"
from
--
"You'd Be So Nice To Come Home To"
from
--
--
{"Gregory Anton"}
--
{"Father O'Malley"}
--
{"Father Fitzgibbon"}
--
{"Woodrow Wilson"}
--
{"Paul Roeder"}
--
{"Father Fitzgibbon"}
--
{"Job Skeffington"}
--
{"Waldo Lydecker"}
--
{"Colonel Smollett"}
--
{"Paula Alquist"}
--
{"Fanny Trellis Skeffington"}
--
{"Susie Parkington"}
--
{"Phyllis Dietrichson"}
--
{"Father O'Malley"}
--
{"Joseph Brady"}
--
{"Don Birnam"}
--
{"Father Francis Chisholm"}
--
{"Frederick Chopin"}
--
{"Dr. Alex Brulov"}
--
{"Morgan Evans"}
--
{"Johnny Nolan"}
--
{"Lieutenant Walker"}
--
{"Charlie Martini"}
--
{"Sister Benedict"}
--
{"Mildred Pierce"}
--
{"Mary Rafferty"}
--
{"Singleton"}
--
{"Ellen Berent"}
--
{"Alexander Gow"}
--
{"Steve Martin"}
--
{"Alexander Sebastian"}
--
{"Elliott Templeton"}
--
{"Laura Jesson"}
--
{"Pearl Chavez"}
--
{"Elizabeth Kenny"}
--
{"Ma Baxter"}
--
{"Anthony John"}
--
{"Charlie Davis"}
--
{"Clarence Day"}
--
{"Dr. Robert Richardson"}
--
{"Ralph Stevenson"}
--
{"Hamlet"}
--
{"Lynn Belvedere"}
--
{"Joan of Arc"}
--
{"Virginia Stuart Cunningham"}
--
{"Leona Stevenson"}
--
{"Belinda McDonald"}
--
{"Midge Kelly"}
--
{"General Savage"}
--
{"Sergeant John M. Stryker"}
--
{"Jack Burden"}
--
{"Major Stovall"}
--
{"Connie Kelly"}
--
{"Dr. Austin Sloper"}
--
{"Pinky"}
--
{"Catherine Sloper"}
--
{"Eloise Winters"}
--
{"Evelyn Boult"}
--
{"Sister Margaret"}
[NOTE: A tie. The other winning film in this category was So Much for So Little.]
[NOTE: A tie. The other winning film in this category was A Chance to Live.]
--
{"Oliver Wendell Holmes"}
--
{"Cyrano de Bergerac"}
--
{"Joe Gillis"}
--
{"Elwood P. Dowd"}
--
{"Stanley T. Banks"}
--
{"Cochise"}
--
{"Skipper Miller"}
--
{"Dr. Erwin Riedenschneider"}
--
{"Addison De Witt"}
--
{"Max Von Mayerling"}
--
{"Eve Harrington"}
--
{"Margo Channing"}
--
{"Billie Dawn"}
--
{"Marie Allen"}
--
{"Norma Desmond"}
--
{"Evelyn Harper"}
--
{"Karen Richards"}
--
{"Veta Louise Simmons"}
--
{"Betty Schaefer"}
[NOTE: Based upon the research made by, and the board motion of, the Writers Guild of America West, the Academy, on July 3, 1991, decided to restore Albert Maltz to the screenplay credit on the 1950 film Broken Arrow. Michael Blankfort had fronted for him on the screenplay and consequently was named in the screenplay nomination. Mr. Blankfort's name was removed from the nomination.]
--
{"Charlie Allnut"}
--
{"Stanley Kowalski"}
--
{"George Eastman"}
--
{"Larry Levins"}
--
{"Willy Loman"}
--
{"Mary McLeod"}
--
{"Alice Tripp"}
--
{"Louise Mason"}
--
{"Emiliano Zapata"}
--
{"Will Kane"}
--
{"Jonathan Shields"}
--
{"Toulouse-Lautrec"}
--
{"Philip Ashley"}
--
{"Zeb Callaway"}
--
{"Red Will Danaher"}
--
{"Lester Blaine"}
--
{"Eufemio Zapata"}
--
{"Myra Hudson"}
--
{"Margaret Elliot"}
--
{"Frankie Addams"}
--
{"Marc Antony"}
--
{"Marcellus Gallio"}
--
{"Robert E. Lee Prewitt"}
--
{"Sefton"}
--
{"Sgt. Milton Warden"}
--
{"Irving Radovich"}
--
{"Joey Starrett"}
--
{"Wilson"}
--
{"Stosh/'Animal'"}
--
{"Lili Daurier"}
--
{"Eloise 'Honey Bear' Kelly"}
--
{"Princess Anne"}
--
{"Karen Holmes"}
--
{"Patty O'Neill"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Originally announced on February 15, 1954 as a nominee in this category. On February 17, 1954, letters from the producer and the nominee questioned its inclusion in the (original) motion picture story category, as it was based on the short story, "The Gift of Cochise," by the nominee, published in Collier's magazine on July 5, 1952. By waiver, the title of the short story was not included in the film's credits. The nomination was withdrawn, and only four titles were included on the final ballot.]
[NOTE: The screen credit and award were originally credited to Ian McLellan Hunter, who was a "front" for Dalton Trumbo. On December 15, 1992, the Academy's Board of Governors voted to change the records and award Mr. Trumbo with the achievement. Ian McLellan Hunter's name was removed from the Motion Picture Story category. The Oscar was posthumously presented to Trumbo's widow on May 10, 1993.]
--
{"Captain Queeg"}
--
{"Terry Malloy"}
--
{"Frank Elgin"}
--
{"Norman Maine/Alfred Hinkel"}
--
{"Johnny Friendly"}
--
{"Father Barry"}
--
{"Charles Malloy"}
--
{"Captain DeVriess"}
--
{"Carmen Jones"}
--
{"Esther Blodgett/Vicki Lester"}
--
{"Sabrina Fairchild"}
--
{"Georgie Elgin"}
--
{"Helen Phillips"}
[NOTE: Because of the political climate of the times, Genevieve's arranger and orchestra conductor Muir Mathieson was credited as composer on American prints of this British-made film, and was thus credited with the nomination. In June of 1986, the Board of Governors had Academy records updated to give Larry Adler his proper credit, which Mr. Mathieson had never claimed. Mr. Mathieson's name was removed from the nomination and Mr. Adler's inserted.]
--
{"Marty Pilletti"}
--
{"Martin Snyder"}
--
{"Cal Trask"}
--
{"John J. Macreedy"}
--
{"Barney Castle"}
--
{"Ensign Pulver"}
--
{"Angie"}
--
{"Howard Bevans"}
--
{"Lillian Roth"}
--
{"Jane Hudson"}
--
{"Serafina Della Rose"}
--
{"Marjorie Lawrence"}
--
{"The King"}
--
{"Jett Rink"}
--
{"Vincent Van Gogh"}
--
{"Bick Benedict"}
--
{"Richard III"}
--
{"Baby Doll"}
--
{"The Woman"}
--
{"Lizzie Curry"}
--
{"Christine Penmark"}
--
{"Aunt Rose Comfort"}
--
{"Mrs. Daigle"}
--
{"Luz Benedict"}
--
{"Rhoda Penmark"}
--
{"Marylee Hadley"}
[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
[NOTE: The name of the writer credited with authorship, Robert Rich, turned out to be an alias. Two decades later, the mystery was officially solved and the Academy statuette went (on May 2, 1975, presented by then Academy president Walter Mirisch) to its rightful owner, screenwriter Dalton Trumbo, blacklisted in 1956 by the industry for political affiliations. Robert Rich (who had nothing to do with the film industry) is a nephew of the King Brothers, producers of the film. They chose his name to be the alias for Dalton Trumbo on the screenplay.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Edward Bernds and Elwood Ullman, the authors of this Bowery Boys quickie, respectfully withdrew their own names and the nomination, aware that voters had probably mistaken their film with a 1956 MGM release with the same title written by John Patrick and starring Bing Crosby, Grace Kelly and Frank Sinatra. (Even so, MGM's High Society would only have been eligible for adapted screenplay.)]
[NOTE: Early in 1956, the name of blacklisted screenwriter Michael Wilson had been deleted from the screen credits of Friendly Persuasion by Allied Artists, the film's distributor, based on a 1952 agreement between the Screen Writers Guild and various production companies. That agreement gave studios the right to omit from the screen the name of any individual who had failed to clear himself before a duly constituted legislative committee of Congress if accused of Communist affiliations, as was the case with Wilson at the time. The Academy, in the awkward position of possibly conferring its highest honor on someone whose name had been omitted from screen credit, revised its bylaws at a special February 6, 1957, meeting. That revision, in essence, allowed that in such cases, the achievement itself could be eligible for nomination, but the specific writer would be ineligible. The following instructions were sent to Price Waterhouse & Co., Certified Public Accountants, who tabulated Academy ballots: "...we ask that if, in tabulating the nominations ballots for Best Screenplay (adapted), Friendly Persuasion is one of the five nominations, you list the other four alphabetically by title and below: Friendly Persuasion - Achievement nominated, but writer ineligible for Award under Academy By-Laws." On February 17, 1957, the Academy's Board of Governors voted to instruct Price Waterhouse & Co. "...to list five nominations, and in the event that one of these is declared ineligible under the By-Law provision, four nominations would appear on the final ballot." THIS NOMINATION WAS NOT INCLUDED ON THE FINAL BALLOT. (The bylaw was repealed by the Academy as "unworkable" on January 12, 1959.) On December 10, 2002, the Academy's Board of Governors voted to reinstate Mr. Wilson's nomination.]
--
{"Susanna Drake"}
--
{"Constance MacKenzie"}
--
{"Eve White/Eve Black/Jane"}
--
{"The Existentialist"}
--
{"Selena Cross"}
--
{"Katsumi"}
--
{"Allison MacKenzie"}
[NOTE: Though Pierre Boulle received official screen credit, it was commonly known that blacklisted writers, Michael Wilson and Carl Foreman, wrote the screenplay based on Mr. Boulle's novel (translated from the French). The Board of Governors, on December 11, 1984, voted posthumous Oscars to Wilson and Foreman and Academy records have been updated.]
--
{"John 'Joker' Jackson"}
--
{"Brick Pollitt"}
--
{"Major Pollock"}
--
{"Noah Cullen"}
--
{"Sheriff Max Muller"}
--
{"Fyodor Karamazov"}
--
{"Rufus Hannassey"}
--
{"Frank Hirsh"}
--
{"Dr. Hugo Pine"}
--
{"Barbara Graham"}
--
{"Sibyl Railton-Bell"}
--
{"Ginny Moorhead"}
--
{"Auntie Mame Dennis"}
--
{"Maggie Pollitt"}
[NOTE: Upon request of his widow and upon recommendation of the Writers Branch Executive Committee, the Board of Governors voted on June 22, 1993, to restore the name of Nedrick Young to the nominations and award presented to Nathan E. Douglas (Mr. Young's pseudonym during the blacklisting period).]
--
{"Joe Lampton"}
--
{"Judah Ben-Hur"}
--
{"Jerry/Daphne"}
--
{"Dr. Sam Abelman"}
--
{"Paul Biegler"}
--
{"Jan Morrow"}
--
{"Sister Luke"}
--
{"Alice Aisgill"}
--
{"Catherine Holly"}
--
{"Elmer Gantry"}
--
{"C.C. 'Bud' Baxter"}
--
{"Archie Rice"}
--
{"Henry Drummond"}
--
{"Abe Reles"}
--
{"Dr. Dreyfuss"}
--
{"Dov Landau"}
--
{"Batiatus"}
--
{"Beekeeper"}
--
{"Eleanor Roosevelt"}
--
{"Ida Carmody"}
--
{"Fran Kubelik"}
--
{"Gloria Wandrous"}
[NOTE: Upon request of his widow and upon recommendation of the Writers Branch Executive Committee, the Board of Governors voted on June 22, 1993, to restore the name of Nedrick Young to the nominations and award presented to Nathan E. Douglas (Mr. Young's pseudonym during the blacklisting period).]
--
{"César"}
--
{"Eddie Felson"}
--
{"Judge Dan Haywood"}
--
{"Jim Fuller"}
--
{"Holly Golightly"}
--
{"Sarah Packard"}
--
{"Cesira"}
--
{"Alma Winemiller"}
--
{"Wilma Dean Loomis"}
--
{"Mrs. Amelia Tilford"}
--
{"Irene Hoffman"}
--
{"Countess Magda Terribili-Gonzales"}
--
{"Mrs. Winemiller"}
--
{"Tom 'Boss' Finley"}
--
{"Sherif Ali ibn el Kharish"}
--
{"Billy Budd"}
[NOTE: Originally, the three names of Jean Bourgoin, Henri Persin and Walter Wottitz (as listed on the Official Screen Credits form) were announced as nominees for this film in this category. The credits from the film listed four Directors of Photography (in the following order), Mr. Persin, Mr. Wottitz, Pierre Levent and Mr. Bourgoin. The program for the Awards ceremony and even the official letter from Price Waterhouse with the results of the final voting for the awards listed the three names as winners in this category. At some point, the name of Henri Persin was dropped from the nomination, as his name has been "whited-out" from the official wording for the nomination certificates, and the nominations and winners lists the Academy publishes do not include his name. The Academy's records and files give no reason for this exclusion.]
[NOTE: The Board of Governors voted on September 26, 1995 to grant then-blacklisted writer Michael Wilson an Academy Award nomination, along with Robert Bolt, for Lawrence of Arabia. This was the result of a Writers Guild of America finding that Wilson and Bolt share the credit for the screenplay.]
--
{"Tom Jones"}
--
{"Frank Machin"}
--
{"Julius Caesar"}
--
Hud
{"Hud Bannon"}
--
{"Ben Brown"}
--
{"Corp. Jim Tompkins"}
--
Hud
{"Homer Bannon"}
--
{"Squire Western"}
--
{"Cardinal Glennon"}
--
{"Molly"}
--
{"Miss Western"}
--
{"Mrs. Waters"}
--
{"Duchess of Brighton"}
--
{"Mother Maria"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. After the nominations were announced, it was discovered that this film was first released prior to the eligibility period, and the nomination was withdrawn.]
--
{"Thomas Becket"}
--
{"Professor Henry Higgins"}
--
{"King Henry II"}
--
{"Alexis Zorba"}
--
{"Group Captain Lionel Mandrake/President Muffley/Dr. Strangelove"}
--
{"King Louis VII of France"}
--
{"Alfred P. Doolittle"}
--
{"Senator Raymond Clark"}
--
{"Art Hockstader"}
--
{"Arthur Simpson"}
--
{"Kid Shelleen/Tim Strawn"}
--
{"Othello"}
--
{"Sol Nazerman"}
--
{"Dr. Schumann"}
--
{"Diana Scott"}
--
{"Miranda Grey"}
--
{"Selina D'Arcey"}
--
{"La Condessa"}
--
{"The Dealer"}
--
{"Emilia"}
--
{"Desdemona"}
--
{"Rose-Ann D'Arcey"}
--
{"Mother Abbess"}
--
{"Anne Gauthier"}
--
{"Rozalie Lautmanova"}
--
{"Georgy Parkin"}
--
{"Leonie Delt"}
--
{"Clyde Barrow"}
--
{"Ben Braddock"}
--
{"Luke Jackson"}
--
{"Police Chief Bill Gillespie"}
--
{"Mrs. Robinson"}
--
{"Bonnie Parker"}
--
{"Mrs. Ross"}
--
{"Susy Hendrix"}
--
{"Yakov Bok"}
--
{"Fagin"}
--
{"King Henry II"}
--
{"Charly Gordon"}
--
{"Chet"}
--
{"Noel Coward"}
--
{"The Artful Dodger"}
--
{"Leo Bloom"}
--
{"Queen Eleanor of Aquitaine"}
[NOTE: A tie. The other winner in this category was Barbra Streisand (Funny Girl).]
--
{"Nettie Cleary"}
--
{"Isadora Duncan"}
--
{"Fanny Brice"}
[NOTE: A tie. The other winner in this category was Katharine Hepburn (The Lion in Winter).]
--
{"Rachel Cameron"}
--
{"Maria Forst"}
--
{"Minnie Castevet"}
--
{"Rose Brice"}
--
{"Calla Mackie"}
[NOTE: At the 41st Awards ceremony on April 14, 1969, Young Americans was announced as the winner of the Documentary Feature Oscar. On May 7, 1969, the film was declared ineligible after it was revealed that the film had played in October of 1967, therefore ineligible for a 1968 Award. The first runner-up, Journey into Self, was awarded the statuette on May 8, 1969.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. At the 41st Awards ceremony on April 14, 1969, Young Americans was announced as the winner of the Documentary Feature Oscar. On May 7, 1969, the film was declared ineligible after it was revealed that the film had played in October of 1967, therefore ineligible for a 1968 Award. The first runner-up, Journey into Self, was awarded the statuette on May 8, 1969.]
--
{"King Henry VIII"}
--
{"Ratso Rizzo"}
--
{"Arthur Chipping"}
--
{"Joe Buck"}
--
{"Rooster Cogburn"}
[NOTE: Film received its 1969 nomination under the title My Night with Maud. It had no US distributor at the time.]
--
{"Jack Jefferson"}
--
{"Robert Eroica Dupea"}
--
{"Oliver Barrett IV"}
--
{"General George S. Patton, Jr."}
[NOTE: Mr. Scott refused the award.]
--
{"Eleanor Bachman"}
--
{"Gudrun Brangwen"}
--
{"Jenny Cavilleri"}
--
{"Rosy Ryan"}
--
{"Rayette Dipesto"}
--
{"Mrs. Enders"}
--
{"Ada Quonsett"}
--
{"Major Margaret 'Hot Lips' Houlihan"}
--
{"Inez Guerrero"}
--
{"Dr. Daniel Hirsh"}
--
{"Jimmy 'Popeye' Doyle"}
--
{"Joseph P. Kotcher"}
--
{"Dr. Herbert Bock"}
--
{"Tevye"}
--
{"Mrs. Constance Miller"}
--
{"Bree Daniel"}
--
{"Alex Greville"}
--
{"Mary, Queen of Scots"}
--
{"Don Vito Corleone"}
[NOTE: Mr. Brando refused the award.]
--
{"Milo Tindale"}
--
{"Andrew Wyke"}
--
{"Jack, 14th Earl of Gurney"}
--
{"Nathan Lee Morgan"}
--
{"Mr. Corcoran"}
--
{"Sonny Corleone"}
--
{"Tom Hagen"}
--
{"The Master of Ceremonies"}
--
{"Michael Corleone"}
--
{"Sally Bowles"}
--
{"Billie Holiday"}
--
{"Aunt Augusta"}
--
{"Rebecca Morgan"}
--
{"Kristina"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. The Godfather score, composed by Nino Rota, was originally announced as one of the five official nominees. It was later pointed out that portions of the score and the main theme were composed by Rota for his score to the 1958 Italian film, Fortunella. The Music Branch was given this information and re-balloted to determine the fifth nomination. The list of six films they were to choose from were the remaining five of the top ten preliminary listings, plus The Godfather score. The results of the re-balloting was that the fifth nomination became Sleuth, composed by John Addison.]
[NOTE: The Godfather score, composed by Nino Rota, was originally announced as one of the five official nominees. It was later pointed out that portions of the score and the main theme were composed by Rota for his score to the 1958 Italian film, Fortunella. The Music Branch was given this information and re-balloted to determine the fifth nomination. The list of six films they were to choose from were the remaining five of the top ten preliminary listings, plus The Godfather score. The results of the re-balloting was that the fifth nomination became Sleuth, composed by John Addison.]
--
{"Harry Stoner"}
--
{"Signalman First Class Buddusky"}
--
{"Frank Serpico"}
--
{"Johnny Hooker"}
--
{"Dutch Schnell"}
--
{"Phil Greene"}
--
{"Professor Kingsfield"}
--
{"Father Damian Karras"}
--
{"Meadows"}
--
{"Chris MacNeil"}
--
{"Vicki Allessio"}
--
{"Maggie Paul"}
--
{"Katie Morosky"}
--
{"Regan MacNeil"}
--
{"Trixie Delight"}
--
{"Addie Loggins"}
--
{"Lenny Bruce"}
--
{"J. J. Gittes"}
--
{"Michael Corleone"}
--
{"Claudine"}
--
{"Evelyn Cross Mulwray"}
--
{"Honey Bruce"}
--
{"Nora Walker Hobbs"}
--
{"Hedda Gabler"}
--
{"Travis Bickle"}
--
{"Howard Beale"}
--
{"Pasqualino Frafuso"}
--
{"Max Schumacher"}
--
{"Rocky Balboa"}
--
{"Diana Christensen"}
--
{"Adrian"}
--
{"Carrie White"}
--
{"Dr. Jenny Isaksson"}
--
{"The Bookkeeper"}
--
{"Lilian Rosen"}
--
{"Margaret White"}
--
{"Louise Schumacher"}
--
{"Alvy Singer"}
--
{"Dr. Martin Dysart"}
--
{"Elliot Garfield"}
--
{"Tony Manero"}
--
{"Yuri Kopeikine"}
--
{"Alan Strang"}
--
{"Ben 'Obi-Wan' Kenobi"}
--
{"Dashiell Hammett"}
--
{"Johann"}
--
{"Emma Jacklin"}
--
{"Lillian Hellman"}
--
{"Annie Hall"}
--
{"Deedee Rodgers"}
--
{"Paula McFadden"}
--
{"Joe Pendleton (alias, Leo Farnsworth, Tom Jarrett)"}
--
{"Buddy Holly"}
--
{"Ezra Lieberman"}
--
{"Luke Martin"}
--
{"Jack Godell"}
--
{"Arthur Kirkland"}
--
{"Joe Gideon"}
--
{"John Chance, the gardener (aka Chauncey Gardiner)"}
--
{"Benjamin Rand"}
--
{"Lieutenant Colonel Kilgore"}
--
{"Billy Kramer"}
--
{"Henry Dailey"}
--
{"Marilyn Homberg"}
--
{"Norma Rae"}
--
{"Kimberly Wells"}
--
{"Jennie MacLaine"}
--
{"Rose"}
--
{"Jake LaMotta"}
--
{"Bull Meechum"}
--
{"John Merrick"}
--
{"Scottie Templeton"}
--
{"Eli Cross"}
--
{"Dr. Berger"}
--
{"Conrad Jarrett"}
--
{"Ben Meechum"}
--
{"Joey LaMotta"}
--
{"Howard Hughes"}
--
{"Edna May"}
--
{"Judy Benjamin"}
--
{"Beth Jarrett"}
--
{"Gloria Swenson"}
--
{"Captain Doreen Lewis"}
--
{"Grandma Pearl"}
--
{"Vicki LaMotta"}
--
{"Louise"}
--
{"John 'Jack' Reed"}
--
{"Norman Thayer, Jr."}
--
{"Arthur Bach"}
--
{"Michael Gallagher"}
--
{"Jimmy Perry"}
--
{"Hobson"}
--
{"Sam Mussabini"}
--
{"Eugene O'Neill"}
--
{"Coalhouse Walker, Jr."}
--
{"Chelsea Thayer Wayne"}
--
{"Toby Landau"}
--
{"Evelyn Nesbit"}
--
{"Emma Goldman"}
--
{"Michael Dorsey/Dorothy Michaels"}
--
{"Mahatma Gandhi"}
--
{"Edmund Horman"}
--
{"Frank Galvin"}
--
{"Alan Swann"}
--
{"Victor/Victoria"}
--
{"Frances Farmer"}
--
{"Beth Horman"}
--
{"Sandy Lester"}
--
{"Julie Nichols"}
--
{"Lillian Farmer"}
--
{"Col. Erhardt"}
--
{"Garrett Breedlove"}
--
{"Chuck Yeager"}
--
{"Marsh Turner"}
--
{"Carol Wetherly"}
--
{"Aurora Greenway"}
--
{"Karen Silkwood"}
--
{"Emma Horton"}
--
{"Antonio Salieri"}
--
{"Starman"}
--
{"Geoffrey Firmin"}
--
{"Wolfgang Amadeus Mozart"}
--
{"Sydney Schanberg"}
--
{"Adela Quested"}
--
{"Edna Spalding"}
--
{"Jewell Ivy"}
--
{"Olive Chancellor"}
--
{"Mae Garvey"}
--
{"Gordon Gekko"}
--
{"Tom Grunick"}
--
{"Francis Phelan"}
--
{"Adrian Cronauer"}
--
{"Aaron Altman"}
--
{"Jim Malone"}
--
{"Fast Black"}
--
{"Cosmo Castorini"}
--
{"Steve Biko"}
--
{"Loretta Castorini"}
--
{"Alex Forrest"}
--
{"Jane Craig"}
--
{"Anna"}
--
{"Helen"}
--
Big
{"Josh"}
--
{"Raymond Babbitt"}
--
{"Jaime Escalante"}
--
{"Lasse Karlsson"}
--
{"Lieutenant Dunbar"}
--
{"Leonard Lowe"}
--
{"Cyrano de Bergerac"}
--
{"Bull McCabe"}
--
{"Claus Von Bulow"}
--
{"Vincent Mancini"}
--
{"Kicking Bird"}
--
{"Big Boy Caprice"}
--
{"Tommy DeVito"}
--
{"Annie Wilkes"}
--
{"Lilly Dillon"}
--
{"Vivian Ward"}
--
{"India Bridge"}
--
{"Myra Langtry"}
--
{"Karen Hill"}
--
{"Oda Mae Brown"}
--
{"Marietta Fortune"}
--
{"Stands With A Fist"}
--
JFK
{"Clay Shaw"}
--
{"Mickey Cohen"}
--
{"Meyer Lansky"}
--
{"Jack Lipnick"}
--
{"Charles Chaplin"}
--
{"Bill Munny"}
--
{"Lt. Col. Frank Slade"}
--
{"Malcolm X"}
--
{"May-Alice"}
--
{"Lurene Hallett"}
--
{"Michaela Odone"}
--
{"Margaret Schlegel"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. After nominations were announced, information came to light that showed that this film was wholly produced in Argentina, and had insufficient Uruguayan artistic control. The film was declared ineligible and removed from the final ballot.]
[NOTE: The Academy's Board of Governors voted to confer this award on January 12, 1993. Ms. Hepburn passed away on January 20th, and the award was accepted on her behalf by her son, Sean Hepburn Ferrer.]
--
{"Tammy Hemphill"}
--
{"Flora"}
--
{"Carla Rodrigo"}
--
{"May Welland"}
--
{"Jules Winnfield"}
--
{"Bela Lugosi"}
--
{"Mark Van Doren"}
--
{"Lieutenant Dan"}
[NOTE: A tie. The other winning film in this category was Trevor.]
[NOTE: A tie. The other winning film in this category was Franz Kafka's It's a Wonderful Life.]
--
{"Farmer Hoggett"}
--
{"Gene Kranz"}
--
{"Jeffrey Goines"}
--
{"Archibald Cunningham"}
--
{"Roger 'Verbal' Kint"}
--
{"Sister Helen Prejean"}
--
{"Ginger McKenna"}
--
{"Francesca Johnson"}
--
{"Elinor Dashwood"}
--
{"Pat Nixon"}
--
{"Marilyn Lovell"}
--
{"Georgia"}
--
{"Marianne Dashwood"}
--
{"Rod Tidwell"}
--
{"Jerry Lundegaard"}
--
{"Peter Helfgott"}
--
{"Aaron Stampler"}
--
{"Byron De La Beckwith"}
--
{"Will Hunting"}
--
{"The Apostle E.F."}
--
{"Ulee Jackson"}
--
{"Stanley Motss"}
--
{"Melvin Udall"}
--
{"Max Cherry"}
--
{"John Quincy Adams"}
--
{"Simon Bishop"}
--
{"Jack Horner"}
--
{"Sean McGuire"}
--
{"Phyllis Mann"}
--
{"Queen Victoria"}
--
{"Carol Connelly"}
--
{"Rose DeWitt Bukater"}
--
{"Lynn Bracken"}
--
{"Emily Montgomery"}
--
{"Amber Waves"}
--
{"Old Rose"}
--
{"Queen Elizabeth I"}
--
{"Viola De Lesseps"}
--
{"Kate Gulden"}
--
{"Jacqueline du Pré"}
The Avid Film Composer is a digital, non-linear, 24 frame-per-second editing machine usinig compression algorithms, that has revolutionized the art of film editing. Shots can be stored, recalled, manipulated and played back instantaneously, allowing the film editor unprecedented creative freedom and the ability to realize a film more fully than before.
[Editorial and Pre-production]
The foundation of current digital audio editing equipment for motion pictures has its roots in the late seventies work of these digital pioneers.
[Sound]
This early work in systems architecture and software has had a significant impact on the digital creation of sound effects and the editing of audio for motion picture sound tracks.
[Sound]
This specially designed ground fault interrupter eliminates the electric shock hazard when working in water, wet conditions or from an accidentally exposed power line.
[Lighting]
The Inferno System, and its predecessor, Flame, provide high-speed, efficient integrated digital compositing and visual effects tools.
[Special Photographic]
The Soundmaster system provides motion picture audio post production facilities with a completely integrated capability for synchronization of audio and picture elements with the numerous methods of synchronization in use today.
[Sound]
The Kodak Lightning laser recorder system established higher operational and quality standards and achieved wide industry acceptance for digital film recording onto intermediate film stock.
[Special Photographic]
This innovative and effective high speed film cleaning machine is unique in its use of spray technology, providing the flexibility to use alternative solvents, and to anticipate changes in environmental legislation.
[Laboratory]
The 435 enhances the creative process via its programmability and reliability, and provides the camera operator with the widest feature and performance capability of any MOS camera in use today.
[Camera]
This series of variable prine lenses opens many creative possibilities, since any focal length can be continuously selected throughout the entire range. They offer sharp, high-contrast, high-resolution images with minimized vignetting, superior to many prime lenses.
[Lenses and Filters]
The Aurasoft offers a radical new type of reflector design for the production of soft, very even and relatively shadowless light, with superior coverage and significantly higher intensity than existing softlights.
[Lighting]
This radically original and effective solution to the problems of high-speed camera motion was achieved with the combination of novel geometry and dedicated 3-dimensional control software.
[Camera Cranes]
Over the past decade, Sorensen, Alexander and Trumbull have improved the speed, repeatability and portability of robotic camera platforms through novel engineering concepts and the pioneering use of composite materials.
[Camera Cranes]
KeyKode numbers are machine-readable bar codes on camera negative films that exactly replicate the human-readable key numbers. Together with an appropriate reader and database software, they reduce errors and speed important post-production operations, leading to significant cost savings.
[Laboratory]
The Primo Series of lenses for 35mm cinematography represents a thorough and comprehensive approach to prime lens design, development and manufacture. This family of lenses has a wide range of focal lengths, all color matched, with improved modulation transfer function characteristics.
[Lenses and Filters]
This cable-driven, manned camera platform allows the operator to spin 360 degrees for unimpeded pans while controlling the downhill speed via brakes. As a device for achieving otherwise impossible shots, Skyman has had a definite influence on later cable-suspended camera systems.
[Camera Cranes]
This radio-controlled, cable-driven camera platform with its ultra-smooth synthetic cables and powerful hydraulic motors, enables runs in excess of 3000 feet with quick return to start. Operating unmanned, it can function at speeds and through perils that would be unsafe for on-board operators.
[Camera Cranes]
This pioneering laser film recorder, designed and used for motion pictures, demonstrated the potential of this technology for recording digital data onto intermediate film stock.
[Special Photographic]
This silent, high-speed motion control modification of a Panther dolly makes it possible to film moving camera composite shots of actors while recording live dialogue.
[Camera Cranes]
This extensive modification to the Panther dolly allows high-speed moves to be silent, smooth and stable.
[Camera Cranes]
These components have become the de facto industry standard for use in precision motion control equipment.
[Camera Cranes]
The design and execution of the Spectra Professional IV-A meter has resulted in a practical and successful tool for the film production community.
[Photography]
Through years of persistent effort, Mr. Kruglak has commercialized and popularized a technique of great utility for motion picture camera operations. By introducing diversity antennas and a time code insertion accessory, he has optimized camera wireless video-assist components.
[Camera]
The TRACK system is an integrated software tool that uses computer-vision techniques to extract critical 2D and 3D information about a scene and the camera used to film it.
[Special Photographic]
Ras_track allows the user to determine the postiton and location of the camera and objects in a scene by tracking points in a scanned sequence.
[Special Photographic]
The K-TEK series microphone boom pole provides production recording personnel with a self-lubricated, light-weight, sturdy pole with multiple accessories.
[Sound]
This software technique provides an efficient and flexible method for the creation of flowing streams, oceans, tidal waves and turbulence for motion picture visual effects.
[Special Photographic]
By integrating existing tools into a powerful interactive system, and adding an expressive multi-target shape interpolation-based freeform animation system, the "Caricature" system provides a degree of subtlety and refinement not possible with other systems.
[Special Photographic]
Designed to correspond to the spectral sensitivity of color negative film stocks, these filters provide for improved color control in motion picture lighting.
[Lenses and Filters]
The use of zeolite crystals as molecular sieves to absorb moisture, acetic acid, methylene chloride and a variety of solvents created an effective deterrent to the effects of vinegar syndrome in stored film stock.
[Laboratory]
This leveler keeps the camera eyepiece at the same level, regardless of whether the camera position is tilted up or down, enabling the camera operator to concentrate on the composition of the image.
[Camera]
The KeyKode Sync Reader provides a fast, accurate and user-friendly means of utilizing the KeyKode information on film, thereby expediting the editorial and post-production processes.
[Laboratory]
Time code slates have had significant impact on the filmmaking process by simplifying post-production. This development makes the synchronization process faster and more precise, particularly when multiple cameras are used.
[Editorial and Pre-production]
Due to their features and simplified operational procedures, the Denecke slates have had significant impact on the motion picture industry and have become the standard for electronic time code slates.
[Editorial and Pre-production]
The DigiSync Film KeyKode Reader provides a fast, accurate and user-friendly means of utilizing the KeyKode information on film, expediting the editorial and post-production processes.
[Laboratory]
--
{"Jeffrey Wigand"}
--
{"Alvin Straight"}
--
{"Emmet Ray"}
--
{"Lester Burnham"}
--
{"Rubin 'Hurricane' Carter"}
--
{"Dr. Wilbur Larch"}
--
{"Frank T.J. Mackey"}
--
{"Dickie Greenleaf"}
--
{"Carolyn Burnham"}
--
{"Mary Jo Walker"}
--
{"Roberta Guaspari"}
--
{"Brandon Teena/Teena Brandon"}
The Libra III head can accept a range of film cameras and their lenses and allows the operator to add stabilization to each axis for medium focal length lenses. Motion capture and playback are also selectable features.
[Stage Operations]
The quiet Moviecam Superlight is an extremely small and light 35mm professional motion picture sound camera which allows the cinematographer to film in ways and situations that were never before possible.
[Camera]
This unique and versatile viewfinder with two independent viewing positions provides a very high-resolution video assist image, greatly enhancing its application for on-set compositing or non-linear editing.
[Camera]
This console allows the user multi-position mixing capabilities, stem routing predub inputs and other filmcentric attributes. This is the first fully digital audio mixing console specifically designed for post-production film mixing.
[Sound]
These state-of-the-art fixed focal length 35mm lenses are the result of intense efforts to meet industry requirements in several areas. Providing superior performance in several cinematographic aspects, these lenses include a unique linear focus system.
[Lenses and Filters]
The impact of the Electro-formed Metal Reflector over the decades has completely changed the presentation side of the motion picture industry allowing the replacement of the carbon arc light source and the implementation of automated projection systems.
[Projection]
These radically new motion picture film projectors provide superior print handling, image steadiness, screen illumination and enhanced viewer experience by means of an extremely simple air-driven mechanical transport system.
[Projection]
Materials of uniform color characteristics are implanted between layers of optical glass and bonded together under extremes of heat and pressure. The outer surfaces are ground and polished to specified close tolerances, free of distortion and resistant to changes in temperature or humidity, then bound with a protective metal ring.
[Lenses and Filters]
Designed to eliminate physical acoustical rumble and to mask a microphone's high sensitivity to wind and other unwanted noises, the lightweight and rugged Rycote Microphone Windshields accomplish these tasks without altering or impairing the original frequency response of the microphone.
[Sound]
Designed to eliminate physical acoustical rumble and to cover a microphone's high sensitivity to wind and other unwanted noises, the Light Wave Systems line of shock mounts and windscreens accomplish these tasks without altering or impairing the original frequency response of the microphone.
[Sound]
The ELM Filters enable a laboratory to achieve additive printer contrast and color reproduction using a subtractive lamphouse.
[Lenses and Filters]
The elimination of the "red fringe" artifact in traveling matte composite photography obviates expensive additional computerized image processing thus reducing the time involved in producing a seamless and convincing composite shot.
[Laboratory]
--
{"Reinaldo Arenas"}
--
{"Maximus Decimus Meridius"}
--
{"Chuck Noland"}
--
{"Jackson Pollock"}
--
{"The Marquis de Sade"}
--
{"President Jackson Evans"}
--
{"Max Schreck"}
--
{"Javier Rodriguez"}
--
{"Ed Masry"}
--
{"Commodus"}
--
{"Laine Hanson"}
--
{"Vianne Rocher"}
--
{"Sara Goldfarb"}
--
{"Samantha 'Sammy' Prescott"}
--
{"Erin Brockovich"}
--
{"Armande Voizin"}
--
{"Lee Krasner"}
--
{"Penny Lane"}
--
{"Elaine Miller"}
--
{"Mrs. Wilkinson"}
Their broad professional influence in the industry continues to inspire and contribute to the advancement of computer-generated imagery for motion pictures.
[Special Photographic]
This camera brings the full uncompromised performance of larger heavy-duty cameras to the lightest weight category with ruggedness and advanced features previously expected only in specialized or effects cameras.
[Camera]
This release print system at Deluxe Laboratories utilizes a revolutionary design allowing for higher print volumes, reduced space requirements for loop racks and elevators, and safer operation.
[Laboratory]
This camera motor, operated with programmable microprocessors, achieves an unprecedented range of precisely controlled speeds in stand-alone cameras or when synchronized to motion-control systems.
[Camera]
[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.
[Sound]
[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.
[Sound]
[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.
[Sound]
[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.
[Sound]
With the ability to dim these very high powered lights at essentially constant Kelvin temperature and without flicker, these units produce a bright and even light source for general set lighting. The availability of very high wattage units allows production to extend the hours of work past the time when the crew would otherwise have "lost the light."
[Lighting]
Considered a standard of the industry, the Fan Descender provides a means for significantly increasing the safety of very high stunt falls. The system permits falls to be made under controlled deceleration and with a highly predictable stopping point without limitation of camera angles.
[Stage Operations]
This unique photographic scenic backing allows a smooth transition from day to night views with a single backing. The Roscolight backings provide an important new creative tool to filmmakers, saving time, money and stage space.
[Stage Operations]
The unique optical design of the Ultra-Star Plus projection lenses achieves unprecedented edge-to-edge uniformity of illumination, combined with a significant increase in screen brightness, thus providing a substantial improvement in the cinema viewing experience.
[Lenses and Filters]
These systems digitally record live action camera and axis data with practically no impact on the live action production process, allowing compositing for visual effects to become faster and more cost-effective.
[Systems]
This system streamlines the creation of 3D computer graphics models by allowing artists to convert the data from automatically scanned physical models into a user-specified configuration of patches well suited for use in computer applications.
[Special Photographic]
This component of the Manex Visual Effects Virtual Cinematography System provides theatrical-quality virtual settings.
[Special Photographic]
The LAD system has become the standard method used by film laboratories and digital film recording facilities for the effecient and uniform control of color and exposure in camera negatives, interpositives and duplicate negatives.
[Laboratory]
--
{"John Nash"}
--
{"Sam Dawson"}
--
Ali
{"Muhammad Ali"}
--
{"Matt Fowler"}
--
{"Leticia Musgrove"}
--
{"Iris Murdoch"}
--
{"Satine"}
--
{"Ruth Fowler"}
--
{"Mrs. Wilson"}
--
{"Constance, Countess of Trentham"}
--
{"Natalie Strout"}
--
{"Young Iris Murdoch"}
The work of John M. Eargle, D.B. "Don" Keele and Mark E. Engebretson has resulted in the over 20-year dominance of constant-directivity, direct radiator bass style cinema loudspeaker systems.
[Sound]
This compact, wide-angle, macro focus lens enhances and expands the picture-capturing ability, both technically and artistically, of the cinematographer. It is the first cine lens that allows macro photography while still being able to zoom.
[Lenses and Filters]
The ARRILASER film recorder demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device while at the same time maintaining outstanding speed, exposure ratings and image quality.
[Special Photographic]
This photo-chemical process restores color to faded color negative using off-the-shelf film stocks with a unique approach. The resulting film intermediate can be used to create a new internegative.
[Laboratory]
This liquid-gate optical printer offers ease of set-up and change-over to various formats from 35mm to 65mm 15-perf with both additive and subtractive lamp houses.
[Special Photographic]
Allowing all four soundtrack systems to be exposed on a single negative with relative ease, this stock has allowed single inventory prints, facilitating the more economic distribution of motion pictures.
[Sound]
CELCO recorder products have had a significant impact on the industry through continual improvements in their technology.
[Special Photographic]
The Remote AquaCam brings to the industry an underwater camera housing specifically designed for remote and high-speed operation. Its hydro-dynamic shape facilitates ease of operation for surface hand-held filming, and its remote capabilities allow it to film in confined areas or in situations where an operator cannot be near the camera.
[Photography]
With over 50 years of involvement in the design and development of underwater camera housings, Jordan Klein's work has had significant influence in the field of underwater photography.
[Photography]
Employing both tapered line array and filtered line array technologies and unique passive and active filter networks, their work with cinema loudspeakers was both innovative and dedicated specifically to cinema applications.
[Sound]
For over 20 years Tomlinson Holman has been involved in the research and integration of the constant-directivity, direct radiator bass type of cinema loudspeaker systems.
[Sound]
This well-engineered camera motor features built-in time-lapse programmability and is useful in an unusually wide range of applications, including MOS production filming, high-speed photography, animation and motion control.
[Camera]
This motion control camera crane represents an unprecedented combination of long reach, high speed, and a novel approach to its transport, which allows a very rapid setup on location.
[Camera Cranes]
This system makes hair, clothing, skin, flesh and muscle simulation both directable and integrated within a character animation and rigging environment.
[Digital Imaging Technology]
The MARS system provides analysis of camera motion and object motion, and their dimensions. It employs a rich set of user-interface tools and sophisticated algorithms.
[Digital Imaging Technology]
CELCO recorder products have had a significant impact on the industry through continual improvements in their technology.
[Special Photographic]
The Nuke-2D compositing software allows for the creation of complex interactive digital composites using relatively modest computing hardware.
[Digital Imaging Technology]
The ongoing influence of Lance Williams is exemplified in his three seminal papers "Casting Shadows on Curved Surfaces," "Pyramidal Parametrics" and "View Interpolation for Image Synthesis."
[Digital Imaging Technology]
This dominant commercial tracking system provides "survey-free" tracking, which significantly reduces the need for painstaking, error-prone measurements on sets.
[Digital Imaging Technology]
All current cel painting applications in the motion picture industry can be traced back to the original idea and pioneering implementation of Garland Stern.
[Digital Imaging Technology]
This self-contained, low bed picture car carrier and camera platform enables the safe, economic and realistic filming of action sequences that may involve principal actors and dialogue.
[Stage Operations]
The Super 16mm film format has achieved a significant impact on the worldwide film industry by playing a major role in empowering low budget films to be produced for theatrical release.
Born from "The Cinematographic Annual," first published by the ASC in 1930, the "American Cinematographer Manual" has become an essential bible for cinematographers. Currently in its eighth edition, this premier reference manual has had a significant impact on decades of motion picture photography around the world.
--
{"Wladyslaw Szpilman"}
--
{"Charlie Kaufman & Donald Kaufman"}
--
{"Thomas Fowler"}
--
{"Bill 'The Butcher' Cutting"}
--
{"Warren Schmidt"}
--
{"John Laroche"}
--
{"Richard Brown"}
--
{"John Rooney"}
--
{"Amos Hart"}
--
{"Frank Abagnale"}
--
{"Frida Kahlo"}
--
{"Virginia Woolf"}
--
{"Connie Sumner"}
--
{"Cathy Whitaker"}
--
{"Roxie Hart"}
--
{"Roberta Hertzel"}
--
{"Laura Brown"}
--
{"Matron Mama Morton"}
--
{"Susan Orlean"}
--
{"Velma Kelly"}
With its significant and dominant impact on the motion picture industry, the Maya software package offers a robust and widely used commercial visual effects tool with a rich infrastructure for extension and customization.
[Digital Imaging Technology]
With a commitment that lies beyond the usual commercial considerations, these two manufacturers continue to lead the industry in developing and introducing products that have defined the state of the art in motion picture camera technology.
[Camera]
This innovative design employs advanced hard disk recording technology and digital audio techniques for use in both production and post-production recording applications.
[Sound]
Through a procedural building-block process, the Houdini software is used to simulate natural phenomena using particle effects and complex three-dimensional models.
[Digital Imaging Technology]
This film stock provides filmmakers with enhanced color saturation, higher contrast and darker blacks, producing a bold, colorful 'look' on the theater screen.
[Film]
This uniquely designed set light provides superior performance, reliability and ease of use. Combined with its excellent array of accessories, the Dedolight 400D is an outstanding engineering achievement.
[Lighting]
This effective software simulation system is used to create and control natural, expressive, highly-nuanced facial animation on a wide range of computer-generated characters.
[Digital Imaging Technology]
Mental Ray is a highly programmable computer-graphics renderer incorporating ray tracing and global illumination to realistically simulate the behavior of light in computer-generated imagery.
[Digital Imaging Technology]
The Deep Canvas software program captures the orginal brush strokes of the traditional background artist to render elements in three dimensions for animated films.
[Digital Imaging Technology]
The work of Jim Songer from 1968 through 1973 led directly to the more widespread acceptance of video-assist in the motion picture industry.
[Systems]
These helium-filled balloons with internal arrangements for tungsten halogen and HMI light sources, are usable indoors or out, quick to set up, require essentially no rigging and provide a soft light that can cover a very large area.
[Lighting]
These helium-filled balloons with internal arrangements for tungsten halogen and HMI light sources, are usable indoors or out, quick to set up, require essentially no rigging and provide a soft light that can cover a very large area.
[Lighting]
--
{"Shelly Kaplow"}
--
{"Jack Jordan"}
--
{"Mateo"}
--
{"Dave Boyle"}
--
{"Katsumoto"}
The efficient algorithms, extensible architecture and intuitive interface have enabled Pro Tools to become the worldwide standard for the creation and editing of motion picture soundtracks.
[Sound]
Measuring his valuable contributions to the invention and implementation of robotic camera systems in decades rather than years, his efforts have aided motion control in becoming a core technology that has supported the renaissance of visual effects.
[Systems]
This high-speed studio projector produces an image quality equal to projectors with Geneva movements. With its unparalleled shuttle speed, reversibility and acceleration, this projector has set a new standard for post-production viewing as well as in traditional screening facilities.
[Projection]
This technology successfully controls the static charge buildup on processed intermediate and sound negative films during high speed printing operations.
[Laboratory]
Through their respective pioneering efforts with AMS AudioFile, Waveframe and Fairlight, the work of these gentlemen contributed significantly to the development and realization of digital audio workstations with full editing capabilities for motion picture soundtracks.
[Digital Imaging Technology]
Massive takes a new approach in simulating behaviors of large numbers of computer-generated extras a.k.a. "agents." Each "agent" contains a primitive software "brain" used to develop behavioral rules simulating a wide range of behaviors. In "The Lord of the Rings" trilogy, over 200,000 agents were controlled in several scenes.
[Digital Imaging Technology]
This versatile, modular and widely accepted cine viewfinder system is capable of properly displaying images in multiple formats ranging from 35mm anamorphic to super 16.
[Photography]
This mathematical model contributed substantially to the development and implementation of practical techniques for simulating subsurface scattering of light in translucent materials for computer-generated images in motion pictures.
[Digital Imaging Technology]
These groundbreaking techniques were used to create realistic-looking skin on digitally created characters.
[Digital Imaging Technology]
--
{"Paul Rusesabagina"}
--
{"Sir James Matthew Barrie"}
--
{"Howard Hughes"}
--
{"Frankie Dunn"}
--
Ray
{"Ray Charles"}
--
{"Senator Ralph Owen Brewster"}
--
{"Max"}
--
{"Eddie Scrap-Iron Dupris"}
--
{"Larry"}
--
{"Katharine Hepburn"}
--
{"Clara McMillen"}
--
{"Tatiana Rusesabagina"}
--
{"Alice"}
With its electronically driven leveling head, adjustable moveable weight carriage, and lightweight, extremely precise telescoping beam elements that allow camera movement during shots, the Technocrane has redefined the state-of-the-art in camera crane technology.
[Camera Cranes]
The Louma pioneered a remotely-operated camera head combined with a lightweight and portable modular crane. Its design has proved to be the inspiration for numerous subsequent remote camera systems.
[Camera Cranes]
With its electronically driven leveling head, adjustable moveable weight carriage, and lightweight, extremely precise telescoping beam elements that allow camera movement during shots, the Technocrane has redefined the state-of-the-art in camera crane technology.
[Camera Cranes]
Cineon pioneered a commercial node-graph compositing system establishing a new visual method for direct manipulation of the compositing process, which influenced and defined modern digital compositing workflows.
[Digital Imaging Technology]
This proprietary modified silicone makeup system allows for the creation of either partial or full-face appliances for motion picture makeup effects that move like real flesh, have translucency similar to skin and will accept standard makeup materials.
[Systems]
With its large radiating surface and thin profile, this collapsible, self-contained HMI softlight provides a diffuse light to simulate daylight in location interiors, where space is often limited.
[Lighting]
Designed in the early 1990s when digital signal processing was in its early stages, the real-time digital approach of the DNF 001 provided accurate filter response with minimal interaction, allowing noise attenuation with fewer artifacts.
[Sound]
The Cedar DNS 1000 is specifically designed to reduce background noise from recorded motion picture dialog. With its precise filters it allows the frequency ranges to be altered or even cascaded to pinpoint and reduce the offending noise.
[Sound]
As a pioneer in this area of motion picture technology, Tyler's 2-axis, hydraulically-powered camera mount successfully eliminates the pitch and roll associated with camera shots taken from a boat in the water.
[Photography]
Vicon Motion Systems developed special-purpose cameras for motion capture with software systems that maximized their impact on the motion picture industry.
[Digital Imaging Technology]
Motion Analysis Corporation developed special-purpose cameras for motion capture with software systems that maximized their impact on the motion picture industry.
[Digital Imaging Technology]
The software solution created by Giant Studios applied a unique biometric approach that has influenced the development of motion capture technology for motion pictures.
[Digital Imaging Technology]
"Storm" employs an efficient method for directly manipulating volumetric data to create effects such as clouds, water and avalanches with familiar operators inspired by image compositing and painting operations.
[Digital Imaging Technology]
--
{"Bob Barnes"}
--
{"Officer Ryan"}
--
{"Joe Gould"}
--
{"Richie Cusack"}
Perfect Horizon effectively neutralizes the extraneous motion encountered in boats, camera cars, snowmobiles or other vehicles, leaving the pan/tilt head and camera stable and level with the horizon.
[Photography]
The Russian Arm and Flight Head opened new possibilities for filmmakers. With the ability to be mounted on the roof of almost any car, this remotely-operated crane and camera head can move smoothly in a 360 degree circle around the car, even while it is being driven at high speeds by actors, creating heretofore impossible perspectives.
[Camera Cranes]
The lightweight structure of the Cascade and Traveling Cascade Cranes enables the filmmaker to achieve heights of up to 70 feet, allowing for the placement of the camera in otherwise impossible locations.
[Camera Cranes]
In creating the first remote-controlled, cable-supported flying camera system, Garrett Brown's pioneering efforts have influenced all subsequent development in this area of technology.
[Camera Cranes]
Their 1998 paper titled "Large Steps in Cloth Simulation" was a seminal work, providing the key in demonstrating to the industry that the calculations necessary to simulate realistic, complex cloth could be achieved efficiently and robustly. Their work provided the conceptual foundation for many cloth simulation systems in use today.
[Digital Imaging Technology]
In use for over a quarter of a century, the Hot-Head has brought the possibility of safe, remotely-operated shots to every filmmaker.
[Photography]
This well-integrated remote system enables filmmakers to remotely pan and tilt their camera from virtually any moving vehicle, giving the opportunity for unprecedented dynamic camera angles.
[Photography]
The Power Pod system enables filmmakers to configure a remote controlled head to meet their own unique requirements.
[Photography]
This remote head not only serves the needs of the live-action filmmaker, but also provides the functionality of a motion-controlled head, allowing for sophisticated tiling and pre-visualization techniques.
[Photography]
The Precision Stunt Airbag is designed to envelop the stunt jumper, even on off-center hits. This feature serves to enhance the safety of stunt performers in falls from up to 200 feet.
[Stage Operations]
Representing a significant evolutionary improvement in camera car technology, this remotely-controlled, gyro-stabilized and flexible camera crane offers a highly stable platform for high-speed, rough terrain action shots. Its ingenious applications of sophisticated technology solve many of the problems inherent in chase vehicle filming.
[Camera Cranes]
The evolution of the Cablecam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.
[Camera Cranes]
The evolution of the Spydercam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.
[Camera Cranes]
Their 1987 paper "Elastically Deformable Models" was a milestone in computer graphics, introducing the concept of physically-based techniques to simulate moving, deforming objects.
[Digital Imaging Technology]
Subdivision surfaces have become a preferred modeling primitive for many types of motion picture computer graphics.
[Digital Imaging Technology]
This system provides a method by which filmmakers can preview real-time color corrections using actual film prints, reducing both the turnaround time and the number of reprints required.
[Laboratory]
The Cinelux Premiere Lenses incorporate an iris and aspheric elements which provide a more uniform modulation transfer function and better light transmission to the sides and corners of the theater projection screen. This reduces the traditional problems of softness in the corners, hot-spotting and varying brightness between film formats.
[Projection]
--
{"Ronnie J. McGorvey"}
--
{"Solomon Vandy"}
--
{"James 'Thunder' Early"}
--
{"Dignam"}
--
{"Raimunda"}
--
{"Barbara Covett"}
--
{"The Queen"}
--
{"Miranda Priestly"}
--
{"Sarah Pierce"}
With elements that may be recombined either digitally or optically, the Rosetta Separations process offers a uniquely great versatility in achieving high-quality results for digital YCM archiving.
[Laboratory]
This highly integrated system facilitates interactive construction and editing of 3D models from digital photographs and addresses the three-dimensional scanning needs of motion pictures in unique and innovative ways.
[Digital Imaging Technology]
The Furnace toolset's modularity, flexibility and robustness has set a high standard of quality for optical flow-based image manipulation.
[Digital Imaging Technology]
Pioneering unprecedented reliability and flexibility in wireless lens and camera operation, the FI+Z has continued to be a leader in innovation since its introduction in 1994.
[Photography]
The TDI process is based on the production of digital separation negatives creating archival elements that can be scanned and digitally recombined in the future.
[Laboratory]
The E-Film process is based on the production of digital separation negatives creating archival elements that can be scanned and digitally recombined in the future.
[Laboratory]
The Brumagic MPST was designed specifically to measure density in the motion picture soundtrack and has become the densitometer of choice for reading soundtrack negative and positive densities worldwide.
[Sound]
Designed for handheld photography, the features of this small, lightweight MOS camera also allow it to be used as a secondary production camera.
[Camera]
Widely adopted, OpenEXR is engineered to meet the requirements of the visual effects industry by providing for lossless and lossy compression of tiered and tiled images.
[Digital Imaging Technology]
This highly modular system permits accurate and reliable wireless control with multiple hand controls of all lens functions.
[Photography]
The graphical user interface of the cmotion System eases the difficult task of following focus, and the unique lens tag system recalls the calibration for each lens.
[Photography]
A unique user interface and relatively low cost have made these tools ubiquitous in the visual effects community.
[Digital Imaging Technology]
--
{"Queen Elizabeth I"}
--
{"Wendy Savage"}
--
{"Juno MacGuff"}
[NOTE: Nomination originally submitted under Elliot Page’s prior name. At the request of the nominee, following his December 1, 2020 announcement that he is transgender, his name has been changed accordingly with support of the Academy’s Awards and Events Committee.]
--
{"Mama Lucas"}
--
{"Briony Tallis, aged 13"}
--
{"Helene McCready"}
--
{"Karen Crowder"}
These new technologies are breakthroughs in film speed, grain and sharpness that have made a significant impact on the motion picture industry. The Vision2 family allows wider use of high-speed color negative film, lower light levels on set and faster set-ups. Most importantly, Vision2 improves the overall picture quality in theatrical presentation.
[Laboratory]
This influential and flexible production-proven system incorporates innovative algorithms and refined adaptations of published methods to achieve large-scale water effects.
[Digital Imaging Technology]
This production-proven simulation system achieves large-scale water effects within ILM's Zeno framework. It includes integrating particle level sets, parallel computation, and tools that enable the artistic direction of the results.
[Digital Imaging Technology]
These techniques allow quick and precisely repeatable application of 2D makeup such as tattoos, bruises and birthmarks, as well as 3D prosthetic appliances ranging in size from small wounds to entire torsos. They utilize self-adhesive material that features an unprecedented combination of tissue-thin edges, resilience, flexibility and water resistance, while requiring no dangerous solvents.
[Systems]
The operating characteristics of this compact, well-engineered and remote-controllable package make possible a range of safe special effects that would be totally impractical with larger, more conventional fog units.
[Stage Operations]
This small, portable, camera-only dolly allows low lens positions, movement in restricted places and tight offset circular maneuvers with rapid set-up.
[Camera Cranes]
RealFlow was the first widely adopted, commercially available, easy-to-use system for the simulation of realistic liquids in motion picture visual effects.
[Digital Imaging Technology]
This system allows artists to create realistic animation of liquids and gases using novel simulation techniques for accuracy and speed, as well as a unique scripting language for working with volumetric data.
[Digital Imaging Technology]
This system is used to create simulations of gaseous phenomena integrated into the widely available Maya tool suite, using an unconditionally stable semi-Lagrangian solver.
[Digital Imaging Technology]
Flowline is a flexible system that incorporates highly parallel computation, allowing rapid iteration and resulting in detailed, realistic fluid effects.
[Digital Imaging Technology]
By coordinating and conducting tests for and with the industry, and by sharing results openly, Mr. Erland clearly demonstrated the value and effectiveness of independent research and industry-wide cooperation.
--
{"Dan White"}
--
{"Kirk Lazarus"}
--
{"Father Brendan Flynn"}
--
{"John Givings"}
--
{"Christine Collins"}
--
{"Ray Eddy"}
--
{"Sister Aloysius Beauvier"}
--
{"Hanna Schmitz"}
With its choice of vari-focus and specular reflectors, the superior optical and mechanical design of this lighting fixture allows it to operate at 18,000 watts, producing unsurpassed light quality while its innovative cooling system keeps the housing safe to touch.
[Lighting]
Using color LCD screens, the Transvideo monitors provide flicker-free video assist bright enough for use in sunlight and have become a ubiquitous tool in both spherical and anamorphic cinematography.
[Systems]
With focus and zoom functions that can be easily controlled by either the operator or focus puller while filming handheld, these lightweight zoom lenses demonstrate a very high degree of engineering, supporting both ease of use and quick interchange.
[Lenses and Filters]
When attached to a film or digital production camera, this versatile aerial image device can produce a wide variety of optical effects interactively, on set and in real time without post-production image manipulation.
[Lenses and Filters]
--
{"Bad Blake"}
--
{"Ryan Bingham"}
--
{"George"}
--
{"Nelson Mandela"}
--
{"Staff Sergeant William James"}
--
{"Francois Pienaar"}
--
{"Captain Tony Stone"}
--
{"George Harvey"}
--
{"Col. Hans Landa"}
Much faster than previous ray-traced methods, this computer graphics technique has enabled color bleeding effects and realistic shadows for complex scenes in motion pictures.
[Digital Imaging Technology]
Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.
[Laboratory]
The Spirit 4K/2K has distinguished itself by incorporating a continuous-motion transport mechanism enabling full-range, high-resolution scanning at much higher frame rates than non-continuous transport scanners.
[Laboratory]
The ARRISCAN film scanner utilizes a specially designed CMOS array sensor mounted on a micro-positioning platform and a custom LED light source. Capture of the film's full dynamic range at various scan resolutions is implemented through sub-pixel offsets of the sensor along with multiple exposures of each frame.
[Laboratory]
Developed for the digital intermediate and motion picture visual effects markets, the Northlight scanner was designed with a 6K CCD sensor, making it unique in its ability to produce high-resolution scans of 35mm, 8-perf film frames.
[Laboratory]
Baselight was one of the first digital color correction systems to enter the digital intermediate market and has seen wide acceptance in the motion picture industry.
[Laboratory]
Lustre is a software solution that enables non-linear, real-time digital color grading across an entire feature film, emulating the photochemical color-timing process.
[Laboratory]
Working in conjunction with the film industry, Texas Instruments created a high-resolution, color-accurate, high-quality digital intermediate projection system that could closely emulate film-based projection in a theatrical environment.
[Projection]
The Fujicolor ETERNA-RDI Type 8511/4511 digital intermediate film has thinner emulsion layers with extremely efficient couplers made possible by Super-Nano Cubic Grain Technology. This invention allows improved color sensitivity with the ability to absorb scattered light, providing extremely sharp images. The ETERNA-RDI emulsion technology also achieves less color cross-talk for exacting reproduction. Its expanded latitude and linearity provides superior highlights and shadows in a film stock with exceptional latent image stability.
[Film]
The combination of these systems, with their ability to capture high fidelity reflectance data of human subjects, allows for the creation of photorealistic digital faces as they would appear in any lighting condition.
[Digital Imaging Technology]
Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.
[Laboratory]
The LUTher system was one of the first color look-up table processors to be widely adopted by the pioneering digital intermediate facilities in the industry. This innovation enabled accurate color presentation by facilities that had analyzed projected film output and built 3D look-up tables in order to emulate print film.
[Laboratory]
Developed at Industrial Light & Magic and consisting of custom hardware and software, Imocap is an innovative system that successfully addresses the need for on-set, low-impact performance capture.
[Digital Imaging Technology]
Ambient occlusion has enabled a new level of realism in synthesized imagery and has become a standard tool for computer graphics lighting in motion pictures.
[Digital Imaging Technology]
Solving a series of problems with one integrated mechanism, this device had an immediate and significant impact on the motion picture industry.
[Photography]
--
{"Uxbal"}
--
{"Rooster Cogburn"}
--
{"Mark Zuckerberg"}
--
{"King George VI"}
--
{"Aron Ralston"}
--
{"Charlene Fleming"}
--
{"Queen Elizabeth"}
--
{"Alice Ward"}
--
{"Mattie Ross"}
--
{"Janine 'Smurf' Cody"}
Dr. Sagar's work led to a method for transforming facial motion capture data into an expression-based, editable character animation system that has been used in motion pictures with a high volume of digital characters.
[Digital Imaging Technology]
The NAC System allows full-size cars, aircraft and other heavy props to be flown on wires with unprecedented freedom of motion and a high degree of safety, on-set and in real time. The intuitive control system responds to the motion of the operator's hand, permitting the recording and playback of all axes of motion simultaneously, which may be edited and refined for playback in subsequent takes.
[Stage Operations]
The evolution of the Cablecam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.
[Camera Cranes]
The evolution of the Spydercam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.
[Camera Cranes]
Mr. Ercolano's work has been influential across the industry, and has enabled scalable render farms at numerous studios.
[Digital Imaging Technology]
This system was the first robust, scalable, widely adopted commercial solution for queue management in the motion picture industry. Its user interface and support for multi-machine assignment influenced the design of modern day queue management tools.
[Digital Imaging Technology]
Queue was one of the first systems that allowed for statistical analysis and process introspection, providing a framework for the efficient use of render farms.
[Digital Imaging Technology]
ObaQ has scaled from managing a few hundred processors in 1997 to many thousands today, with minimal changes to the original design.
[Digital Imaging Technology]
This important step in the evolution of global illumination techniques, first used on the motion picture "Shrek 2," was shared with the industry in their technical paper "An Approximate Global Illumination System for Computer Generated Films."
[Digital Imaging Technology]
--
{"Carlos Galindo"}
--
{"Matt King"}
--
{"George Valentin"}
--
{"George Smiley"}
--
{"Billy Beane"}
--
{"Albert Nobbs"}
--
{"Aibileen Clark"}
--
{"Margaret Thatcher"}
--
{"Marilyn Monroe"}
--
{"Peppy Miller"}
--
{"Celia Foote"}
--
{"Hubert Page"}
--
{"Minny Jackson"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. After the awards ceremony on February 26, 2012, the Academy was made aware that Tuba Atlantic had been shown on Norwegian television in 2010, making the film ineligible for the 84th Awards under the rules governing the category. In July 2012, the nomination was rescinded by the Board of Governors.]
The ARRILASER film recorder demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device, while at the same time maintaining outstanding speed, exposure ratings and image quality.
[Special Photographic]
The Phantom family of high-speed digital cameras, including the Phantom Flex and HD Gold, provide imagery at speeds and efficacy surpassing photochemical technology, while seamlessly intercutting with conventional film production.
[Camera]
The Master Primes have achieved a full stop advance in speed over existing lenses, while maintaining state-of-the-art optical quality. This lens family was also the first to eliminate the magnification change that accompanied extreme focus shifts.
[Lenses and Filters]
The Pictorvision Eclipse system allows cinematographers to capture aerial footage at faster flying speeds with aggressive platform maneuvering.
[Camera Cranes]
This versatile family of 5-axis camera and lens stabilizers allows any standard motion picture camera to be fitted into the open architecture of the structure. The system can be quickly balanced and made ready for shooting platforms such as helicopters, boats, camera cars or cranes.
[Camera Cranes]
Specifically designed for laser film recording and widely used in the industry today, the high-resolution FUJIFILM ETERNA-RDS 4791 film stock is an important step in protecting the heritage of the motion picture industry.
[Film]
This work allowed, for the first time, unified and efficient rendering of volumetric effects such as smoke and clouds, together with other computer graphics objects, in a micro-polygon imaging pipeline.
[Digital Imaging Technology]
--
{"Abraham Lincoln"}
--
{"Jean Valjean"}
--
{"Freddie Quell"}
--
{"Whip Whitaker"}
--
{"Lester Siegel"}
--
{"Lancaster Dodd"}
--
{"Thaddeus Stevens"}
--
{"Dr. King Schultz"}
[NOTE: A tie. The other winning film in this category was Zero Dark Thirty.]
[NOTE: A tie. The other winning film in this category was Skyfall.]
Since their first series of motion picture lenses, Cooke Optics has continued to create optical innovations decade after decade. Producing what is commonly referred to as the "Cooke Look," these lenses have often been the lens of choice for creative cinematographers worldwide.
[Lenses and Filters]
This framework faithfully and robustly simulates the effects of anatomical structures underlying a character's skin. The resulting dynamic and secondary motions provide a new level of realism to computer-generated creatures.
[Digital Imaging Technology]
Mocha provides robust planar-tracking even when there are no clearly defined points in the image. Its effectiveness, ease of use, and ability to exchange rotoscoping data with other image processing tools have resulted in widespread adoption of the software in the visual effects industry.
[Digital Imaging Technology]
The CINE VCLX provides extended run-times and flexibility, allowing users to power cameras and other supplementary equipment required for production. This high-capacity battery system is also matched to the high-demand, always-on digital cinema cameras.
[Systems]
Pose Space Deformation (PSD) introduced the use of novel sparse data interpolation techniques to the task of shape interpolation. The controllability and ease of achieving artistic intent have led to PSD being a foundational technique in the creation of computer-generated characters.
[Digital Imaging Technology]
Virtually unchanged from its original incarnation over 15 years ago, Light is still in continuous use due to its emphasis on interactive responsiveness, final-quality interactive render preview, scalable architecture and powerful user-configurable spreadsheet interface.
[Digital Imaging Technology]
Katana's unique design, featuring a deferred evaluation procedural node-graph, provides a highly efficient lighting and rendering workflow. It allows artists to non-destructively edit scenes too complex to fit into computer memory, at scales ranging from a single object up to an entire detailed city.
[Digital Imaging Technology]
This technique allowed for fast, art-directable creation of highly detailed gas simulation, making it easier for the artist to control the appearance of these effects in the final image.
[Digital Imaging Technology]
Highly sophisticated and well-engineered, the Max Menace Arm is a safe and adjustable device that allows rapid, precise positioning of lighting fixtures, cameras or accessories. On-set or on location, this compact and highly portable structure is often used where access is limited due to restrictions on attaching equipment to existing surfaces.
[Stage Operations]
--
{"Sydney Prosser"}
--
{"Ryan Stone"}
--
{"Philomena"}
--
{"Violet Weston"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. After the nominations were announced on January 16, 2014, it was determined that Mr. Broughton had taken actions in promoting the song that were inconsistent with the Academy's campaign regulations. The Board of Governors voted to rescind the nomination on January 29, and only four songs were included on the final ballot.]
Lab employees have contributed extraordinary efforts to achieve filmmakers' artistic expectations for special film processing and the production of billions of feet of release prints per year. This work has allowed an expanded motion picture audience and unequaled worldwide cinema experience.
[Special Photographic]
ZBrush pioneered multi-resolution digital sculpting, transforming how artists conceive and realize their final designs. ZBrush has enabled artists to create models far more quickly and with much greater detail than previous approaches.
[Digital Imaging Technology]
Physically based rendering has transformed computer graphics lighting by more accurately simulating materials and lights, allowing digital artists to focus on cinematography rather than the intricacies of rendering. In his 1997 Ph.D. thesis and related publications, Veach formalized the principles of Monte Carlo path tracing and introduced essential optimization techniques, such as multiple importance sampling, which make physically based rendering computationally feasible.
[Digital Imaging Technology]
FiLMBOX, the foundation of MotionBuilder, enables the real-time processing and control of devices and animation. For over two decades, its innovative architecture has been a basis for the development and evolution of new techniques in filmmaking, such as virtual production.
[Digital Imaging Technology]
This battery-powered, radio-controlled, miniature helicopter camera system employs computer-assisted piloting and tele-operation in an airframe that utilizes GPS-assisted flight controls for aerial filming of unparalleled sophistication. Flying-Cam SARAH achieves shots impossible for full-size helicopters, cable systems or other traditional camera support devices.
[Photography]
The unique construction of this system combines fluid solving and final image rendering on the GPU (Graphics Processing Unit) hardware without needing an intermediate step involving the CPU. This innovation reduces turnaround time, resulting in significant efficiency gains for the ILM effects department.
[Digital Imaging Technology]
The use of the Fast Fourier Transform for solving partial differential equations allows FLUX a greater level of algorithmic efficiency when multi-threading on modern hardware. This innovation enables the creation of very high-resolution fluid effects while maintaining fast turnaround times.
[Digital Imaging Technology]
Mudbox provides artists powerful new design capabilities that significantly advance the state of the art in multi-resolution digital sculpting for film production.
[Digital Imaging Technology]
The spherical harmonics lighting pipeline precomputes and reuses a smooth approximation of time-consuming visibility calculations. This enables artists to quickly see the results of changing lights, materials and set layouts in scenes with extremely complex geometry.
[Digital Imaging Technology]
For more than a decade, Zeno's flexible and robust design has allowed the creation of a broad range of Academy Award-winning visual effects toolsets at ILM.
[Digital Imaging Technology]
For more than a decade, Voodoo's unique design concepts have enabled a broad range of character animation toolsets to be developed at Rhythm & Hues.
[Digital Imaging Technology]
Physically based rendering has transformed computer graphics lighting by more accurately simulating materials and lights, allowing digital artists to focus on cinematography rather than the intricacies of rendering. First published in 2004, "Physically Based Rendering" is both a textbook and a complete source-code implementation that has provided a widely adopted practical roadmap for most physically based shading and lighting systems used in film production.
[Digital Imaging Technology]
Dr. Hillman's ongoing contributions to standardized techniques and a common deep image file format have enabled advanced compositing workflows across the digital filmmaking industry.
[Digital Imaging Technology]
Their contributions include early advancements in key deep compositing features such as layer and holdout-order independence, spatial and intra-element color correction, post-render depth of field, and precise blending of complex layer edges.
[Digital Imaging Technology]
Providing a functional and efficient model for the storage of deep opacity information, this technology was widely adopted as the foundation of early deep compositing pipelines.
[Digital Imaging Technology]
The current Helicam system is a high-speed, extremely maneuverable, turbine-engine, radio-controlled miniature helicopter that supports professional film and digital cinema cameras. Helicam provides a wide range of stabilized, remotely operated pan, tilt and roll capabilities, achieving shots impossible for full-size helicopters.
[Photography]
This self-contained high-pressure pneumatic device safely launches a stationary full-sized car on a predetermined trajectory. The precision of operation enhances the safety of performers, and the physical design allows a rapid setup and strike.
[Stage Operations]
The ASC CDL unifies color correction principles for use on- and off-set, providing for the faithful reproduction of color values across a variety of color correction devices. This technology provides basic image-processing mathematics that translate the lift, gamma and gain settings to a set of common color values to help preserve the cinematographer's intent throughout production.
[Systems]
OpenColorIO, developed at Sony Pictures Imageworks, is an open source framework that enables consistent color visualization of motion picture imagery across multiple facilities and numerous software applications.
[Digital Imaging Technology]
The Digital Micromirror Device (DMD) is the core technology that has enabled Texas Instruments' DLP Cinema projection to become the standard of the motion picture industry.
[Digital Apparatuses Technology]
Incorporating novel telecentric multi-element aspherical optics, these camera lenses have delivered unprecedented optical and mechanical performance.
[Lenses and Filters]
Working in conjunction with the film industry, Texas Instruments created a high-resolution, high-quality digital projection system that has replaced most film-based projection systems in the theatrical environment.
[Digital Apparatuses Technology]
These precise, wide-gamut monitors allow creative image decisions to be made on set with confidence that the desired images can be accurately reproduced in post-production.
[Digital Apparatuses Technology]
This cost-effective display offered a stable, wide color gamut, allowing facility-wide adoption in feature animation and visual effects studios.
[Digital Apparatuses Technology]
This small cross-section system from Mad About Technology can operate from above or below the camera, achieving nearly impossible shots with repeatable movements through openings no larger than the camera itself.
[Camera Cranes]
The Biscuit Jr.'s unique chassis and portable driver pod enables traveling photography from a greater range of camera positions than previously possible, while keeping actors safe and the rig out of frame.
[Camera Cranes]
Texas Instruments' color-accurate, high-resolution, high-quality digital projection system has replaced most film-based projection systems in the theatrical environment.
[Digital Apparatuses Technology]
This comprehensive system allows artists to quickly enhance and modify character animation and simulation performances. It has become a crucial part of ILM's production workflow over the past decade.
[Digital Imaging Technology]
The MOVA system provides a robust way to capture highly detailed, topologically consistent, animated meshes of a deforming object. This technology is fundamental to the facial pipeline at many visual effects companies. It allows artists to create character animation of extremely high quality.
[Digital Imaging Technology]
The Universal Capture system broke new ground in the creation of realistic human facial animation. This technology produced an animated, high-resolution, textured mesh driven by an actor's performance.
[Digital Imaging Technology]
Barbershop's unique architecture allows direct manipulation of full-density hair using an intuitive, interactive and procedural toolset, resulting in greatly enhanced productivity with finer-grained artistic control than is possible with other existing systems.
[Digital Imaging Technology]
This software substantially improves an artist's ability to create specifically designed trees and vegetation by combining a procedural building process with the flexibility of intuitive, direct manipulation of every detail.
[Digital Imaging Technology]
This toolset has a hierarchical spline system, a core data format and an artist-driven modeling tool, which have been instrumental in creating art-directed vegetation in animated films for nearly two decades.
[Digital Imaging Technology]
These pioneering systems demonstrated that large numbers of constrained rigid bodies could be used to animate visually complex, believable destruction effects with minimal simulation time.
[Digital Imaging Technology]
This system incorporates innovative research on many algorithms that provide accurate methods for resolving contact, collision and stacking into a mature, robust and extensible production toolset. The PhysBAM Destruction System was one of the earliest toolsets capable of depicting large-scale destruction with a high degree of design control.
[Digital Imaging Technology]
The combined innovations in Kali and DMM provide artists with an intuitive, art-directable system for the creation of scalable and realistic fracture and deformation simulations. These tools established finite element methods as a new reference point for believable on-screen destruction.
[Digital Imaging Technology]
Field3D provides a flexible and open framework for storing and accessing voxel data efficiently. This allows interchange between previously incompatible modeling, simulation and rendering software.
[Digital Imaging Technology]
Robert Bridson's pioneering work on voxel data structures and its subsequent validation in fluid simulation tools have had a significant impact on the design of volumetric tools throughout the visual effects industry.
[Digital Imaging Technology]
OpenVDB is a widely adopted, sparse hierarchical data structure that provides a fast and efficient mechanism for storing and manipulating voxels.
[Digital Imaging Technology]
The Tiffen Company identified the problem and rapidly engineered a series of absorptive filters that ameliorated infrared artifacts with lenses of all focal lengths. These widely adopted filters allow cinematographers to work as they have done with film-based technology.
--
{"Michael Burry"}
--
{"John Fitzgerald"}
--
{"Mike Rezendes"}
--
{"Rudolf Abel"}
--
{"Rocky Balboa"}
--
{"Daisy Domergue"}
--
{"Therese Belivet"}
--
{"Sacha Pfeiffer"}
--
{"Joanna Hoffman"}
LAIKA's inventive use of rapid prototyping has enabled artistic leaps in character expressiveness, facial animation, motion blur and effects animation. Through highly specialized pipelines and techniques, 3D printing capabilities have been harnessed with color uniformity, mechanical repeatability, and the scale required to significantly enhance stop-motion animated feature films.
[Digital Imaging Technology]
Combining powerful, multilayer painting tools and a unique texture-management system, MARI simplifies working with large, high-resolution texture sets. It has achieved broad adoption in the visual effects industry, often supplanting long-term in-house systems.
[Digital Imaging Technology]
The Image Shaker was unique and superior to alternatives in use when it was invented two decades ago, and it continues to be used today.
[Special Photographic]
This system of modular inflatable panels can be erected on location, at lengths reaching hundreds of feet, with exceptional speed and safety. When used to support blue or green screens, the Airwall permits composite shots of unprecedented scale.
[Stage Operations]
The PRM's pioneering and innovative design allows the stable, accurate representation of images with the entire luminance range and color gamut used in contemporary theatrical feature presentation.
[Digital Apparatuses Technology]
Geometry Tracker facilitates convincing interaction of digital and live-action elements within a scene. Its precise results and tight integration with other ILM animation technologies solve a wider range of match-animation challenges than was previously possible.
[Digital Imaging Technology]
RV's multi-platform toolset for review and playback, with comprehensive APIs, has allowed studios of all sizes to take advantage of a state-of-the-art workflow and has achieved widespread adoption in the motion picture industry.
[Digital Imaging Technology]
Over its nearly two decades of development, this pioneering system enabled desktop and digital theater review. It continues to provide artist-driven, integrated, consistent and highly scalable studio-wide playback and interactive reviews.
[Digital Imaging Technology]
This consistent, integrated, production database-backed review system enables a recordable workflow and an efficient, collaborative content review process across multiple sites and time zones.
[Digital Imaging Technology]
With an extensive plugin API and comprehensive facility integration including editorial functions, Itview provides an intuitive and flexible creative review environment that can be deployed globally for highly efficient collaboration.
[Digital Imaging Technology]
--
{"Marcus Hamilton"}
--
{"Patrick Chandler"}
--
{"Saroo Brierley"}
--
{"Bobby Andes"}
--
{"Michèle"}
--
{"Mildred"}
--
{"Jackie Kennedy"}
--
{"Florence Foster Jenkins"}
--
{"Rose Maxson"}
--
{"Paula"}
--
{"Sue Brierley"}
--
{"Dorothy Vaughan"}
[NOTE: The nomination as it was originally announced on January 24, 2017, included four names: Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth. It was later determined that during the nominations phase Mr. Russell had violated Academy campaign regulations that prohibit telephone lobbying. Upon recommendation of the Sound Branch Executive Committee, the Academy's Board of Governors voted on February 23 to rescind the Sound Mixing nomination for Mr. Russell.]
With an intuitive design and appealing image reproduction, achieved through close collaboration with filmmakers, ARRI's Alexa cameras were among the first digital cameras widely adopted by cinematographers.
RED's revolutionary design and innovative manufacturing process have helped facilitate the wide adoption of digital image capture in the motion picture industry.
Using a familiar form factor and accessories, the design features of the Genesis allowed it to become one of the first digital cameras to be adopted by cinematographers.
Arnold's scalable and memory-efficient single-pass architecture for path tracing, its authors' publication of the underlying techniques, and its broad industry acceptance were instrumental in leading a widespread adoption of fully ray-traced rendering for motion pictures.
V- Ray's efficient production-ready approach to ray-tracing and global illumination, its support for a wide variety of workflows, and its broad industry acceptance were instrumental in the widespread adoption of fully ray-traced rendering for motion pictures.
FACETS was one of the first reliable systems to demonstrate accurate facial tracking from an actor-mounted camera, combined with rig-based solving, in large-scale productions. This system enables animators to bring the nuance of the original live performances to a new level of fidelity for animated characters.
This user-friendly hardware and software system creates and controls complex interactions of real and virtual motion in hard real-time, while safely adapting to the needs of on-set filmmakers.
The Viper camera enabled frame-based logarithmic encoding, which provided uncompressed camera output suitable for importing into existing digital intermediate workflows.
OSL is a highly optimized runtime architecture and language for programmable shading and texturing that has become a de facto industry standard. It enables artists at all levels of technical proficiency to create physically plausible materials for efficient production rendering.
CGI Studio's groundbreaking ray-tracing and adaptive sampling techniques, coupled with streamlined artist controls, demonstrated the feasibility of ray-traced rendering for feature film production.
Meander's innovative curve-rendering method faithfully captures the artist's intent, resulting in a significant improvement in creative communication throughout the production pipeline.
The Zaxcom system has advanced the state of wireless microphone technology by creating a fully digital modulation system with a rich feature set, which includes local recording capability within the belt pack and a wireless control scheme providing real-time transmitter control and time-code distribution.
The Lectrosonics system has advanced the state of wireless microphone technology by means of an innovative digital predictive algorithm to realize full fidelity audio transmission over a conventional analog FM radio link, by reducing transmitter size, and by increasing power efficiency.
This pioneering system enabled large-scale use of animation rig-based facial performance-capture for motion pictures, combining solutions for tracking, stabilization, solving and animator-controllable curve editing.
These systems evolved through independent, then combined, efforts at two different studios, resulting in an artist-controllable, editable, scalable solution for the high-fidelity transfer of facial performances to convincing digital characters.
This system enables high-fidelity facial performance transfer from actors to digital characters in large-scale productions while retaining full artistic control, and integrates stable rig-based solving and the resolution of secondary detail in a controllable pipeline.
--
{"Reynolds Woodcock"}
--
{"Chris Washington"}
--
{"Winston Churchill"}
--
{"Roman J. Israel, Esq."}
--
{"Florence Jackson"}
--
{"LaVona"}
--
{"Marion McPherson"}
--
{"Zelda Fuller"}
With more than twenty years of continual innovation, Houdini has delivered the power of procedural methods to visual effects artists, making it the industry standard for bringing natural phenomena, destruction and other digital effects to the screen.
This innovative six-axis stabilized aerial camera mount, with its enhanced ability to frame shots while looking straight down, enables greater creative freedom while allowing pilots to fly more effectively and safely.
Houdini’s dynamics framework and workflow management tools have helped it become the industry standard for bringing natural phenomena, destruction and other digital effects to the screen.
Built for production at Digital Domain, Nuke has become a ubiquitous and flexible tool used across the motion picture industry, enabling novel and sophisticated workflows at an unprecedented scale.
Expanded as a commercial product at The Foundry, Nuke is a comprehensive, versatile and stable system that has established itself as the backbone of compositing and image processing pipelines across the motion picture industry.
With its fully waterproof construction, the Hydrascope has greatly advanced crane technology and versatility by enabling precise long-travel multi-axis camera movement in, out of and through fresh or salt water.
BlockParty streamlines the rigging process through a comprehensive connection framework, a novel graphical user interface, and volumetric rig transfer, which has enabled ILM to build richly detailed and unique creatures while greatly improving artist productivity.
This toolset provides a novel approach to character rigging that features topological independence, continuously editable rigs and deformation workflows with shape-preserving surface relaxation, enabling fifteen years of improvements to production efficiency and animation quality.
Presto allows artists to work interactively in scene context with full-resolution geometric models and sophisticated rig controls, and has significantly increased the productivity of character animators at Pixar.
--
{"Dick Cheney"}
--
{"Vincent Van Gogh"}
--
{"Freddie Mercury"}
--
{"Tony Lip"}
--
{"Dr. Donald Shirley"}
--
{"Flip Zimmerman"}
--
{"George W. Bush"}
--
{"Lynne Cheney"}
--
{"Sra. Sofia"}
--
{"Abigail"}
--
{"Lady Sarah"}
After Effects' pioneering use of consumer hardware to host an application that is extensible, efficient and artist-focused has made it the preeminent motion graphics tool in film production, allowing motion designers to create complex animated elements for title design, screen graphics and fictional user interfaces.
Photoshop's efficient, extensible architecture, innovative virtual-memory design and powerful layering system introduced a new level of user interactivity, which led to its adoption as the preferred artistic tool for digital painting and image manipulation across the motion picture industry.
Their creation of essential geometric operations and sustained research on the fundamental mathematics of subdivision surfaces helped transform the way digital artists represent 3D geometry throughout the motion picture industry.
PIX System's robust approach to secure media access has enabled wide adoption of their remotely collaborative dailies-review system by the motion picture industry.
MoGraph provides a fast, non-destructive and intuitive workflow for motion designers to create animated 3D graphics, as used for title design and fictional user interfaces in motion pictures.
Silhouette provides a comprehensive solution for painting, rotoscoping and image manipulation of high-resolution image sequences. Its fast, scalable and extensible architecture has resulted in wide adoption in motion picture post-production.
Polarized Spherical Gradient Illumination was a breakthrough in facial capture technology allowing shape and reflectance capture of an actor's face with sub-millimeter detail, enabling the faithful recreation of hero character faces. The Light Stage X structure was the foundation for all subsequent innovation and has been the keystone of the method's evolution into a production system.
Medusa captures exceptionally dense animated meshes without markers or makeup, pushing the boundaries of visual fidelity and productivity for character facial performances in motion pictures.
Loop's 1987 master's thesis, "Smooth Subdivision Surfaces Based on Triangles," together with his subsequent research and publications, extended the theory of subdivision surfaces and inspired further development of methods that transformed the way digital artists represent 3D geometry throughout the motion picture industry.
--
{"Charlie Barber"}
--
{"Arthur Fleck"}
--
{"Cardinal Jorge Bergoglio/Pope Francis"}
--
{"Cardinal Ratzinger/Pope Benedict"}
--
{"Jimmy Hoffa"}
--
{"Russell Bufalino"}
--
{"Harriet/Minty"}
--
{"Nicole Barber"}
--
{"Jo March"}
--
{"Megyn Kelly"}
--
{"Judy Garland"}
By using novel extensions of digital data transmission and compression algorithms, and data prioritization based on error rate, the Amimon chipset supports the creation of systems with virtually unrestricted camera motion, expanding creative freedom during filming.
The Teradek Bolt system features a frame-synchronized back channel for real-time camera control, an error-resilient timecode channel and integrated production metadata, which have led to its widespread adoption in motion picture production.
Featuring spectral processing algorithms enhanced with machine learning, the iZotope RX system is widely favored by motion picture sound professionals for audio repair and enhancement.
Wordfit revolutionized the process of post sync ADR by eliminating the need for manual editing to perfect lip sync. VocALign and Revoice Pro are software tools that together give sound editors unprecedented control over the final performance in replaced dialog. In use for many years, these technologies continue their predominance in the creation and seamless integration of replacement dialog tracks in motion pictures.
Sanken's early engineering work in microphone orientation and miniaturization has inspired the current generation of lavalier microphones. The exceptional sound quality and durability of the COS-11 series have made them the predominant lavalier microphones used in motion picture production sound recording.
EIZO auto-calibrating SDR monitors increase artists' confidence in facility-wide image reproduction accuracy and reduce disruptions to the creative process and production workflows. They have become indispensable for many major motion picture animation and effects facilities.
The Technoprops head-mounted camera system, with its modular and production-proven construction, supports consistent face alignment with improved actor comfort, while at the same time permitting quick reconfiguration and minimizing downtime. This system enables repeatable, accurate and unobstructed capture of an actor's facial movements.
The Standard Deviation head-mounted camera system provides a robust method of accurate camera synchronization to the house clock. Combined with practical innovations for usability, it enables multiple head-mounted camera systems to be used in large capture volumes, resulting in adoption by numerous motion picture productions.
For the past decade, the Intel Embree Ray Tracing Library has provided a high-performance, industry-leading, CPU-based ray-geometry intersection framework through well-engineered open source code, supported by a comprehensive set of research publications. It has become an indispensable resource for motion picture production rendering.
Taz is a robust, predictable and efficient mass-spring hair simulation system with novel formulations of hair shape, bending springs and hair-to-hair collisions. It has enabled Pixar artists to bring to life animated digital characters with a wide variety of stylized hair, from straight to wavy to curly.
The ILM HairCraft Dynamics System has a physically robust hair-dynamics model that simulates hair by embedding curves in tetrahedral mesh volumes. Its unique spring-based control system has helped ILM artists create a wide range of photorealistic digital characters and digital stunt doubles.
The WDAS Hair Simulation System is a robust, predictable, fast and highly art-directable system built on the mathematics of discrete elastic rods. This has provided Disney artists the flexibility to manipulate hair in hyper-realistic ways to create the strong silhouettes required for character animation and has enabled a wide range of complex hairstyles in animated feature films.
The Synapse Hair Simulation System is a robust, predictable and highly scalable position-based dynamics system with a novel inverse parameter solver. It has helped Weta Digital artists create a wide range of photorealistic digital characters and digital stunt doubles.
The DPA 4061 and 4071 lavalier microphones exemplify creative design, precise manufacture and meticulous quality control, resulting in consistent performance and exceptional on-set motion picture audio recording.
Originated by company founder Carl Countryman (1946-2006), these meticulously crafted subminiature microphones are easily concealed. Their spectral response-shaping filters, cable mounting and capsule design contribute to their wide adoption by motion picture production sound mixers.
An extensible, efficient and intuitive post-production tracking software system, ftrack Studio has enabled small and large studios alike to efficiently schedule and manage complex digital motion picture animation and visual effects.
An extensible, web-based, flexible and scalable system, Shotgun has enabled the efficient management of highly complex visual effects and animation post-production workflows. By facilitating deep integration into a wide variety of facility pipelines, Shotgun has successfully productized the tracking of complex production data on large-scale motion pictures.
--
{"Elvis"}
--
{"Pádraic Súilleabháin"}
--
{"Charlie"}
--
{"Calum"}
--
{"Williams"}
The CineTape distance measurement system provides focus-pullers with continuous, accurate, real-time distance information to the subject, either at the camera or remotely. This high resolution distance data has enabled the reliable execution of shots that previously were impossible to judge accurately or had required multiple takes to achieve.
The Light Ranger 2 provides precise real-time focus distance information by continuously tracking subjects in sixteen discrete zones. The distance and depth of field indicators are superimposed on the camera image, enabling the focus-puller to intuitively judge focus, even in formerly impossible and extremely challenging situations.
The Rain Bars provide a portable system for the creation of realistic, large-scale, adjustable, practical rain for motion pictures. Their rapid setup and relocation capabilities enable the efficient production of effects ranging from misting drizzles to torrential downpours.
FQ’s highly efficient scheduler and sophisticated prioritization algorithms reflect a deep understanding of render farm management. With an architecture that has remained largely unchanged for more than a decade, FQ continues to support substantial growth in computational complexity at Framestore.
These design contributions have resulted in robust, versatile, extensible and highly scalable render farm management systems that have supported substantial growth in computational complexity at Sony Pictures Imageworks and Weta Digital.
Adobe Substance 3D Designer provides artists with a flexible and efficient procedural workflow for designing complex textures. Its sophisticated and art-directable pattern generators, intuitive design, and renderer-agnostic architecture have led to widespread adoption in motion picture visual effects and animation.
Fizt2 provides a high-performance solver with novel and stable implicit physics and robust collision detection. The design of this system enables artist workflows to easily apply soft-body dynamics to a broad range of interacting animated characters and objects.
Note: Names and film titles in the Academy Awards Database are derived from film credits and other documentation submitted to the Academy at the time of nomination or award. Changes to name forms or other information contained in the Database may be considered upon request, with respect to preservation of the historical record and the nominee/award recipient.